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List of Published Scores in New German Organ Tablature

2025-04-30T21:01:53Z

WillsSchoolAccount: Created page with "New German This article is a list of scores in the Baroque and Renaissance eras that used New German Organ Tablature and were published, arranged chronologically. {{Stub}} == List == * Bernhard Schmid: ''Tabulatur Buch von allerhand...Praeludiis, Toccaten, Motteten, Canzonetten, Madrigalien und Fugen.'' Strassburg, 1607. References: {{RISM|990058134}}"

[[Category:List of Publications by Notation Style|New German]]
This article is a list of scores in the Baroque and Renaissance eras that used [[New German Organ Tablature]] and were published, arranged chronologically.

{{Stub}}

== List ==
* [[Bernhard Schmid]]: ''Tabulatur Buch von allerhand...Praeludiis, Toccaten, Motteten, Canzonetten, Madrigalien und Fugen.'' Strassburg, 1607. References: {{RISM|990058134}}

D-B Am.B 340

2025-04-30T20:46:31Z

WillsSchoolAccount: Links to Roberday and Scherer mentioned books

'''D-B Am.B 340''' is a manuscript held in the ''Staatsbibliothek'', Berlin. It was written by an unknown scribe, possibly [[Wilhelm Karges]], in 1664.

The manuscript contains works by [[Jan Pieterszoon Sweelinck]], [[Heinrich Scheidemann]], [[Johann Jakob Froberger]], [[Sebastian Anton Scherer]], [[François Roberday]], and [[Wilhelm Karges]], in addition to some anonymous pieces.

<blockquote>Taken as a whole, AmB 340 reflects that stage in the development of seventeenth-century North German organ music when the focus of attention was shifting away from the Bull-Sweelinck idioms which had been so dominant in the first half of the century, towards new styles coming north from Italy via South Germany.<ref>Webber (1986), 82.</ref></blockquote>

== Scribe ==
[[Geoffrey Webber]] stated that [[Wilhelm Karges]] is the ''most likely candidate'' to be the scribe of this manuscript.

<blockquote>The collection survives in the library of [[Princess Anna Amalia of Prussia]] (1723-1787) and Karges was Organist of the Berlin Court from 1646 to 1699. Of the three works in the manuscript which bear the initials 'W. K.', one is the only piece to carry a date–13 July 1664–and another is the only instance in the manuscript where two names occur in connection with a single piece. Here 'W. K.' replaced the first section of Froberger's ''Fantasia sopra Sol La Re'' with a short parody of Froberger's original–a process very similar to the techniques employed in the Scherer adaptations. Moreover, the style of the dated piece is entirely compatible with the stylistic alterations made to the Froberger, Roberday and Scherer works.<ref>Webber (1986), 86.</ref></blockquote>

== Analysis ==
Many pieces in this manuscript which have a known source (where they were copied from) have serious changes when compared with the original. These have been interpreted as examples of how these foreign pieces could be modified by North-German organists to better suit their tastes (while at the same time showing more interest in this different style of music).

Some examples of how pieces would be modified include changing or completely re-writing the final cadence in such a way that the Italian style of trill-like ornaments on the final chord are replaced with more polyphonic and harmonic cadences, re-writing runs in fast notes (like 16th or 32nd notes) in more regular, less trill-like, rhythms, removing some dissonances and chromaticism, and playing some notes in the pedal (including removing fast notes when they are written to be played in the pedal).

Additionally, many ''intonatio'' by Scherer that were included were made longer by adding more opening and concluding flourishes. In this way, the piece conforms more to the ''Präludium'' of the [[North German Organ School]].

=== Examples ===
This manuscript contains a copy of the ''Chromatic Fantasy'' by [[Jan Pieterszoon Sweelinck]] on f.46v-. This copy includes several sections in which an extra voice is written which is a more "ironed-out" version of certain motifs, such as trill-like ornaments.

[[File:DBamb340 1.jpg|frameless|none]]

<score><<
\new Staff \relative fis' {\time 4/2 \partial 1 fis2 f | e2 f2^"[?]" d4 e f g}
\new Staff = "r" \relative d' { \clef bass d4 a2 b4 | << { c16 b a b c a b g a g f g a f g e f4 }
\new Staff \with { alignBelowContext = "r" \omit TimeSignature } \relative c' { \clef bass c8 a c b a g f d \glissando \change Staff = "r" \once\hideNotes f2*1/2 } >> g4 a g8 f }
\new Staff \relative d { \clef bass s1 | r2 d d d }
>></score>

Furthermore, the ending of the piece is different.

[[File:DBamb340 2.jpg|frameless|none]]

<score>
\new PianoStaff <<
\new Staff <<
\relative cis'' { \time 4/2 \partial 1. cis8 c b bes a4 bes a d, | d1 cis4 d d4. cis8 | d\breve\fermata \bar "|." } \\ \relative d' { s2 r8 d d d cis c b bes | a1 a1 | a\breve\fermata | }>>
\new Staff << \relative a { \clef bass a4 g fis g a g f!16 e d e f g a g f e d8 d, d' e4 f e2 | fis\breve\fermata | } \\ \relative d { s2 d1~ | d1 a d,\breve\fermata }
>>
>>

</score>

== Contents ==
Several pieces in this manuscript are marked with initials which have been connected with composers. (A few pieces include more fully written-out names)

In addition to pieces with initials, several unattributed pieces in this manuscript have been found to originate from two books published in the 1660s:

* [[François Roberday]] - ''Fugues et Caprices'' (Paris, 1660; see {{IMSLP|285849}})
* [[Sebastian Anton Scherer]] - ''Operum musicorum secundum'' (Ulm, 1664; see {{RISM|990057920}})

With these atttributions, two pieces in the manuscript remain unaccounted for.

== Links ==
{{OnlFac|sig=D-B Am.B 340|url=http://resolver.staatsbibliothek-berlin.de/SBB00005DFB00000000|urlc=digital.staatsbibliothek-berlin.de|date=21 November, 2023}}

== References ==
{{RISM|466000008}}

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. 56.

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

[[Geoffrey Webber|Webber, Geoffrey]]. "New Evidence Concerning the Transmission of Styles in Seventeenth-Century German Organ Music: MS Berlin, Amalien-Bibliothek 340". [[The Organ Yearbook]] 17, 1986. p.81-88.

''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.

[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Baroque Manuscripts]][[Category:German]][[Category:Baroque]]

D-BEU Mus.ms. 159

2024-11-07T00:11:25Z

WillsSchoolAccount: Redirected page to Ritter Catalogue

#REDIRECT [[Ritter Catalogue]]

D-KA Aa36 V, no.48

2024-11-07T00:10:03Z

WillsSchoolAccount: Created page with "'''D-KA Aa36 V, no.48''' is a copy of the publication of the ''Contapunctus'' and ''Klag-Lied'' on ''Mit Fried und Freud ich fahr dahin'' by Dietrich Buxtehude (also assigned RISM A/I B 5200). {{Stub}} == References == Belotti, Michael (editor). ''Dieterich Buxtehude: The Collected Works.'' Volume 16: Keyboard Works, Part 2: Organ Chorales, Section B: Commentary. New York: The Broude Trust, 2010. 17. {{RISM|990007776}}"

'''D-KA Aa36 V, no.48''' is a copy of the publication of the ''Contapunctus'' and ''Klag-Lied'' on ''Mit Fried und Freud ich fahr dahin'' by [[Dietrich Buxtehude]] (also assigned [[RISM A/I B 5200]]).

{{Stub}}

== References ==
[[Michael Belotti|Belotti, Michael]] (editor). ''Dieterich Buxtehude: The Collected Works.'' Volume 16: Keyboard Works, Part 2: Organ Chorales, Section B: Commentary. New York: The Broude Trust, 2010. 17.

{{RISM|990007776}}

RISM A/I B 5200

2024-11-07T00:02:11Z

WillsSchoolAccount: Redirected page to D-KA Aa36 V, no.48

#REDIRECT [[D-KA Aa36 V, no.48]]

D-B Mus.ms. 2680

2024-11-07T00:01:59Z

WillsSchoolAccount: Created page with "{{Stub}} == References == {{RISM|452007944}} {{OnlFac|sig=D-B Mus.ms. 2680|url=http://resolver.staatsbibliothek-berlin.de/SBB0001D27C00000000|urlc=digital.staatsbibliothek-berlin.de|date=6 November, 2024}} Category:ManuscriptsCategory:German manuscriptsCategory:Baroque manuscriptsCategory:GermanCategory:Baroque"

{{Stub}}

== References ==
{{RISM|452007944}}

{{OnlFac|sig=D-B Mus.ms. 2680|url=http://resolver.staatsbibliothek-berlin.de/SBB0001D27C00000000|urlc=digital.staatsbibliothek-berlin.de|date=6 November, 2024}}

[[Category:Manuscripts]][[Category:German manuscripts]][[Category:Baroque manuscripts]][[Category:German]][[Category:Baroque]]

Dietrich Buxtehude

2024-11-06T23:59:53Z

WillsSchoolAccount: /* Organ Works in BuxWV Catalogue */ improve Mit Fried und Freud

[[File:"The Musical Party" by Johannes Voorhout.png|thumb|[[Musical Party (Voorhout)|"The Musical Party" by Johannes Voorhout]]. Buxtehude is now thought to be playing the Viola de Gamba. [[Jean-Adam Reincken]] is playing the harpsichord.]]
'''Dietrich Buxtehude''' (1637-1707)

''NOTE: this article was automatically generated from an entry submitted to '''wvlist.net'''. You can help add pictures and more information to this article!''

{{Stub}}

== Organ Works ==
=== BuxWV ===
Compositions by Buxtehude are classified according to ''Buxtehude-Werke-Verzeichnis'' (BuxWV). Before this, the works would typically be referred to by their location in the edition by [[Philipp Spitta]], for example "Sp.I:1", or "Erg." for the ''Ergänzungsband''<ref>[[Josef Hedar|Hedar, Josef]], ''Dietrich Buxtehudes Orgelwerke''. 372-373.</ref>.

=== Organ Works in BuxWV Catalogue ===
{| class="wikitable"
|-
! Sources<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''D. Buxtehude: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1997.</ref> !! BuxWV<ref name="buxwv">Karstädt, Georg. ''Thematisch-systematisches Verzeichnis der musikalischen Werke von Dietrich Buxtehude.'' Wiesbaden: Breitkopf & Härtel, 1985.</ref> !! Title !! Incipit !! Notes !! Ref.
|-
|[[D-KA Aa36 V, no.48]] [[D-B Mus.ms. 2680]] f.1r-3r
|76
|Mit Fried und Freud ich fahr dahin
|<score>{\time 4/2 <<\relative d' { d1 a'2 a g } \\ \relative a { r4 a f a8 b c2. d8 c bes2 } \\ \relative f' { r2 r4 f e f8 g a4 f g2 } >>}</score>
|[[RISM A/I B 5200]]
||<ref>[[Michael Belotti|Belotti, Michael]] (editor). ''Dieterich Buxtehude: The Collected Works.'' Volume 16: Keyboard Works, Part 2: Organ Chorales, Section B: Commentary. New York: The Broude Trust, 2010. 17.</ref><ref>{{RISM|990007776}}</ref>
|-
|[[Lowell Mason Codex]] p.137-141
|136
|Praeludium in C Major
|<score>{<< \relative g { r16 g a b c d e f g e f g a } \\ \relative g { r8 r16 g a b c d e c d e f } >>}</score>
|-
|[[Andreas Bach Book]] f.111v-113v
|137
|Praeludium in C Major
|<score>{\clef bass \relative c { r16 c e c g'8 g, r g c c, r4 }}</score>
|-
|[[US-NH LM 4838]] p.65-67
|138
|Praeludium in C Major
|<score>{\relative c'' { r16 c b a g e f g c, d e f g }}</score>
|-
|[[Schmahl Organ Tablatures]] (4) p.4-5 [[Lindemann Tablatures|S-L Wenster U:6]] [[D-B Mus.ms. 2681]] p.13-17 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|139
|Praeludium in D Major
|<score>{<< \relative a' { r8 r16 a d fis d a a'8 r8 r4 r8 } \\ \relative d' { s2 r16 d fis a d a fis d d'8 } >>}</score>
|-
|[[D-B Mus.ms. 2681]] p.18-22 [[US-Pc qM 786.8 B98]] p.1-5 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|140
|Praeludium in D Minor
|<score>{\relative g' { r16 <g e'> <a f'> <g e'> <f d'> <g e'> <f d'> <e cis'> <f d'> }}</score>
|-
|[[D-B Mus.ms. 2681]] p.23-28 [[US-Pc qM 786.8 B98]] p.6-9 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|141
|Praeludium in E Major
|<score>{\key e \major \relative b' { r16 b cis dis e b cis b32 a b16 a32 gis e'16~32 }}</score>
|-
|[[Lowell Mason Codex]] p.92-99 [[Lindemann Tablatures|S-L Wenster N:5]] [[D-B Mus.ms. 2681]] p.1-7 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|142
|Praeludium in E Minor
|<score>{\key e \minor \relative e' { r16 e g b g e c' a b e cis dis e }}</score>
|-
|[[D-B Mus.ms. Fot. Bü 227]] (Foto 535-538) p.1-4 [[D-B Mus.ms. 2681]] p.43-47 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|143
|Praeludium in E Minor
|<score>{\key e \minor \clef bass \relative e, { e4~16 e' dis e b b' a b e,8 }}</score>
|-
|[[Lowell Mason Codex]] p.134-137
|144
|Praeludium in F Major
|<score>{\clef bass \key f \major {f16 bes a bes g c' bes c' } \clef treble << \relative c' { c16 f e f d } \\ {a4 bes8} >>}</score>
|-
|[[D-B Mus.ms. 30381]] No. 3 [[D-B Mus.ms. 2681]] p.31-37 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|145
|Praeludium in F Major
|<score>{\relative f'' { r16 e f e f c d bes c a bes g a }}</score>
|-
|[[B-Bc 26659]] f.22v-24v [[D-DS Mus.ms. 1462/1]] p.1-7 [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]] [[D-LEm Becker III.8.6]] p.1-7 [[A-Wn Mus. Hs. 5011]] p.1
|146
|Praeludium in F-Sharp Minor
|<score>{\key fis \minor \relative fis'' { \repeat percent 4 { fis16 a eis gis } fis16 }}</score>
|-
|[[S-L Engelhart 216]]
|147
|Preludium in G Major
|<score>{\clef bass \relative g { r8 g fis16 g e fis d g b, d c g' a, }}</score>
|-
|[[Lowell Mason Codex]] p.120-125 [[Grobe Tablature]] [[US-Pc qM 786.8 B98]] p1.5
|148
|Praeludium in G Minor
|<score>{\key g \minor << \relative d'' { r16 d ees c d bes c a bes g a fis g } \\ \relative d' { r4 r16 d ees c d bes c a bes } >>}</score>
|-
|[[Lindemann Tablatures|S-L Wenster U:5]] [[D-B Mus.ms. 2681]] p.75-81 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|149
|Praeludium in G Minor
|<score>{\key g \minor \relative g'' { \tuplet 6/4 4 { r16 fis g a g fis g cis, d e d cis d }}}</score>
|-
|[[Andreas Bach Book]] f. 6, 53, 54r
|150
|Praeludium in G Minor
|<score>{\clef alto \key g \minor \relative g { g8. 16 a g a32 g a fis g16 d bes' g d' }}</score>
|-
|[[Schmahl Organ Tablatures]] (1) [[Möller Manuscript]] f.47-48
|151
|Praeludium in A Major
|<score>{\key a \major \relative e'' { e8. a16 cis, d e b cis d a b cis }}</score>
|-
|[[Lowell Mason Codex]] p.84-87
|152
|Praeludium quarti toni
|<score>{\relative e'' { e8 d16 c b c d e gis, a b a gis }}</score>
|-
|[[D-B Mus.ms. 2681]] p.8-12 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|153
|Praeludium in A minor
|<score>{\clef alto << \relative e' { r2 e16 a gis b a } \\ \relative e { e16 a gis b a c b d c8 b16 d c } >>}</score>
|-
| [[Lowell Mason Codex]] p.142-147
|155
|Toccata in D Minor
|<score>{\relative d'' { d8. a16 bes a f g } << \relative a' { <a f>4 }\\ \relative cis' {r16 cis d d, } >>}</score>
|-
| [[D-B Mus.ms. 2681]] p.66-71 [[US-Pc qM 786.8 B98]] p.10-15 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] f.18r-20r [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|156
|Toccata in F Major
|<score>{\relative c' { r32 c d e f g a bes c a bes c d e f g a16 }}</score>
|-
|[[BuxWV 157 Manuscript]]
|157
|Toccata in F Major
|<score>{\relative f' { f16 c d e f g a bes c a bes c d e f g a c, d e f }}</score>
|-
|[[Lowell Mason Codex]] p.88-91
|158
|Praeambulum in A Minor
|<score>{\relative e'' { e4. d16 c b8 c16 d gis,8 a16 b e,4 }}</score>
|-
|[[Andreas Bach Book]] f.33v-35r [[D-B Mus.ms. 30069]] p.42-43
|159
|Ciacona in C Minor
|<score>{\key c \minor \time 3/4 << \relative c'' { r8 c16 b c4. d8 b8 } \\ \relative e' {r8 ees16 d ees8. d16 c4 d8 } \\ \relative g' { r4 g f g8 } >>}</score>
|-
|[[Andreas Bach Book]] f.91-92v
|160
|Ciacona in E Minor
|<score>{\key e \minor \time 3/4 << \relative a' { r8 a b4. c8~8 } \\ \relative a { r4 r r8 a b } \\ \relative fis' { r4 r8 fis g4 fis8 } >>}</score>
|-
|[[Andreas Bach Book]] f.107v-108v
|161
|Passacaglia in D Minor
|<score>{\partial 2 \key d \minor \time 3/2 << \relative f'' { r4 f~f e2. r4 g8 a f4 } \\ \relative d' { r4 d~d2 cis r4 e~e } \\ \relative a' { r4 a4~1 r4 a~a }>>}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:2]]
|162
|Praeludium manualiter in G Major
|<score>{\relative g'' { g8 a16 g fis a g fis g b a g fis e d cis d }}</score>
|-
|[[D-B Mus.ms. 2681]] p.58-65 [[D-Bim Mus.ms. Buxtehude 1]]
|163
|Praeludium manualiter in G Minor
|<score>{\relative g'' { g16 aes g f ees d c bes a g fis g~ g32 a }}</score>
|-
|[[D-B Mus.ms. 2681]] p.72-74 [[US-NH LM 4983]] p.1-3 [[S-Uu Instr. Mus. i. hs. 410]] p.72-73 [[D-B Mus.ms. 30194]] (5) p. 1-2
|164
|Toccata manualiter in G Major
|<score>{\relative g' { g8. a16 b fis g d e fis b, d a }}</score>
|-
|[[Möller Manuscript]] f.47-48 [[D-LEm Mus.ms. S 4]] p.1-2
|165
|Toccata manualiter in G Major
|<score>{\clef bass \relative g { <g g, d''>1 r16 g fis g d g b, d g,2 }}</score>
|-
|[[Lowell Mason Codex]] p.100-105 [[D-B Mus.ms. 40268]] p.64-66
|166
|Canzona in C Major
|<score>{\relative c' { c16 e d e f g f e d f e f g }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:6]]
|167
|Canzonetta in C Major
|<score>{\relative g' { \repeat unfold 2 \repeat tremolo 4 { g8} a8 a e f g e f d e }}</score>
|-
|[[D-B Mus.ms. 2681]] p.48-51 [[D-LEm Becker II.2.51]] f.1v-3r [[D-Bim Mus.ms. Buxtehude 1]]
|168
|Canzona in D Minor
|<score>{\relative a' { a2 d,8 d' c bes a16 bes c8 f,16 g a8 d, }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:9]]
|169
|Canzonetta in E Minor
|<score>{\relative b' { r8 b e, fis g16 fis g a g8. fis16 e8 }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:8]]
|170
|Canzona in G Major
|<score>{\key g \major \relative d'' { d16 e d c b g' f g e f d e c }}</score>
|-
|[[D-B Mus.ms. 2681]] p.29-30 [[D-Bim Mus.ms. Buxtehude 1]]
|171
|Canzonetta in G Major
|<score>{\relative d'' { \repeat tremolo 2 d16 \repeat tremolo 2 b16 \repeat tremolo 2 e16 \repeat tremolo 2 a,16 \repeat tremolo 2 b16 \repeat tremolo 2 g16 \repeat tremolo 2 d'16 \repeat tremolo 2 fis,16 }}</score>
|-
|[[US-NH LM 4983]] p.6-7
|172
|Canzonetta in G Major
|<score>{\relative d'' { r16 d d d e d e b c b c a d }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:1]]
|173
|Canzona in G Minor
|<score>{\key g \minor \relative d'' { d4. g16 d ees c g' c, d bes g' bes, c }}</score>
|-
|[[Andreas Bach Book]] f.61v-62v
|174
|Fuga in C Major
|<score>{\time 12/8 \relative c' { r4 c8 g' a g e4 e8 a bes a g4 g8 c4 }}</score>
|-
|[[Lowell Mason Codex]] p.117-119
|175
|Fuga in G Major
|<score>{\relative d'' { d4 d8 d e d16 c b8 b16 c d8 a d c }}</score>
|-
|[[D-B Mus.ms. 2681]] p.38-42 [[D-Bim Mus.ms. Buxtehude 1]]
|176
|Fuga in B-flat Major
|<score>{\key bes \major \relative f' { f8 16 16 8 16 16 g8 aes16 g f g ees f d }}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 11419]] p.101-102
|177
|Ach Gott und Herr (2 Versus)
|<score>{<< \relative f' { r4 f8 e f g a b c } \\ { d'1 c'8 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.141-142
|178
|Ach Herr, mich armen Sünder
|<score>{\clef bass << \relative e' { s1 s r2 e a } \\ \relative e { r1 r2 e a2. g4 f2 } \\ \\ \relative b { r2 b2 e2. d4 c1~4 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.356-358
|179
|Auf meinen lieben Gott
|<score>{\key e \minor \relative e' { \partial 8 e8 e4. fis8 g8 g32 a b16 a8. g32 a b2 }}</score>
|-
|[[Frankenberger Walther Manuscript]] p.113-114
|180
|Christ, unser Herr, zum Jordan kam
|<score>{\relative d' { d2~8 e32 f g16 f8. e16 f2 }}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 30245]] p.77-78 [[D-B Mus.ms. Bach P 806]]
|181
|Danket dem Herren (3 Versus)
|<score>{\key g \minor << \relative g' { g1 bes2*1/2 } \\ \relative c' { r4 r8 c16 b c8 d ees4~4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.64-66 [[D-B Mus.ms. 22541/2]] p.104-106 [[Ms. fol. Sp. 1440]]
|182
|Der Tag, der ist so freudenreich
|<score>{\clef alto \key g \major <<\relative g' { r2 g g g2*1/2 } \\ \relative g { r2 r4 g8 a b c~c b c4 } \\ \relative b { r2 r4 b8 c d e d4 e4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.151-152
|183
|Durch Adams Fall ist ganz verderbt
|<score>{<< \relative a' { a1 a2 a } \\ \relative d' { r4 d cis d a cis d } \\ \relative f' { r4 f e f cis e f2 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.305-306
|184
|Ein feste Burg ist unser Gott
|<score>{\relative c'' { r16 c d e c e b d c2 c4~16}}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.318
|185
|Erhalt uns, Herr, bei deinem Wort
|<score>{\key g \minor \relative g' { r16 g bes g d' a bes fis g4~16 }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.157-158 [[D-B Mus.ms. 30245]] p. 95-96 [[Ms. fol. Sp. 1439]]
|186
|Es ist das Heil uns kommen her
|<score>{\relative a' { r8 a g8. fis16 g2 g g g4. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.295-296
|187
|Es spricht der Unweisen Mund wohl
|<score>{\key g \major << \relative e' { r4 e e d8 c b4 e4~8 } \\ \relative c' { r4 c c b8 a g2 a4 } \\ \relative g' { g1 g4. a16 g f8 } >>}</score>
|-
|[[D-B Mus.ms. Bach P 802]] p.57-69
|188
|Gelobet seist du, Jesu Christ
|<score>{\clef alto << \relative d' { d2 d4 d e2 d r8 } \\ \relative g { r1 r4 g g g a2 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.72-73 [[D-B Mus.ms. 22541/2]] p.100-101
|189
|Gelobet seist du, Jesu Christ
|<score>{<< \relative b { r16 b c d g, d' e fis g2 g } \\ \relative g' { r2 r8 g e c r <c e> <g b> } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.70-71
|190
|Gott der Vater wohn uns bei
|<score>{<< \relative g' { g4 g a b c c b } \\ \relative c' { c4 c~c b a2 g4 } \\ \\ \relative e' { e4 e fis g~g fis g } >>}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 30245]] p.99-100
|191
|Herr Christ, der einig Gottes Sohn
|<score>{\key g \major << {g'1 g'2 b'2*1/4 } \\ \relative b { r4 b c4. d8 e b e4~e8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.22-23 [[Frankenberger Walther Manuscript]] p.197-198
|192
|Herr Christ, der einig Gottes Sohn
|<score>{\partial 2 \key g \major << \relative g' { g2 g4. a8 b2 } \\ \relative b { r8 b c d e4 d8 c b } \\ \relative fis' { s2 s4. fis8 g4. } >>}</score>
|Beginning incipit in [[Ritter Catalogue]] <score>\relative fis' { \key g \major r8 fis\noBeam g16[ a g32 a g fis] g2*1/4 }</score>
|<ref>[[Michael Belotti|Belotti, Michael]] (editor). ''Dieterich Buxtehude: The Collected Works.'' Volume 16: Keyboard Works, Part 2: Organ Chorales, Section B: Commentary. New York: The Broude Trust, 2010. 30.</ref>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|193
|Herr Jesu Christ, ich weiß gar wohl
|<score>{\partial 2 << \relative a' { a2 a gis a } \\ \relative d' { s2 r4 d8 c b a b4 a4 } \\ \relative a' { r4 a8 g f e f e d c d4 c4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|194
|Ich dank dir, lieber Herre
|<score>{\key f \major \clef alto \relative f' { \partial 2 <f c a>2 4 4 <f d a>4 <g d~ g,~> <e d g,>8 }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|195
|Ich dank dir shon durch deinen Sohn
|<score>{\time 4/2 \key f \major \relative c' { c1 2 2 f1. d2 e1. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|196
|Ich ruf zu dir, Herr Jesu Christ
|<score>{<< \relative a' { a1 } \\ \relative a, { r16 \clef bass a16 b cis d e f g a cis, d e f g a d, } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.96-97 [[D-B Mus.ms. 22541/2]] p.103
|197
|In dulci jubilo
|<score>{\key g \major \time 3/2 \partial 2 << \relative g' { g2 g1 a4 b8 c b2. } \\ \relative d' { d2 e1 d2~2. } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.162
|198
|Jesus Christus, unser Heiland, der den Tod
|<score>{\key f \major \clef alto << \relative g' { g2 g } \\ \relative c' { r2 r16 c b a g8 } \\ \relative f' { r16 f ees d c8 d ees d16 c bes8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.165-166
|199
|Komm, Heiliger Geist, Herre Gott
|<score>{\key f \major \relative c' { r16 c d e f g a bes c2 d }}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.167-168
|200
|Komm, Heiliger Geist, Herre Gott
|<score>{\key f \major << { c''1} \\ \relative e' { r16 <e g> <f a> <g bes> <f a>8 <e g> <f a>2 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.179-180
|201
|Kommt her zu mir, spricht Gottes Sohn
|<score>{\key g \minor \clef alto << \relative d' { d2 4 4 g2. fis4 g } \\ \relative g { r2 r4 g g g d'2~4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.100 [[D-B Mus.ms. 22541/2]] p.101
|202
|Lobt Gott, ihr Christen allzugleich
|<score>{\key g \major \partial 4 \relative g { g4 d' d d d e d8. c16 b4. }}</score>
|-
|[[B-Bc 26659]] p.3-6
|203
|Magnificat primi toni
|<score>{\key d \minor \relative d' { d16 e f g a b cis d e f g a r16 e,}}</score>
|-
|[[D-B Mus.ms. 30280]] p.26 [[D-LEm Becker III.8.26]]
|204
|Magnificat primi toni
|<score>{\key d \minor \clef bass \relative e { r16 e f g f a g bes a d cis e d }}</score>
|-
|[[D-B Mus.ms. 30280]] p.27 [[D-LEm Becker III.8.26]]
|205
|Magnificat noni toni
|<score>{\key d \minor \clef alto << \relative d' { r4 d f2~4 e8 d e4 } \\ \relative a { r2 r4 a c2. } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.96
|206
|Mensch, willt du leben seliglich
|<score>{\clef bass << \relative b { r4 b c2~4 b8. a16 b8} \\ \relative e { e2. fis4 g2 gis8 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.98-99, p.102-103 [[D-B Mus.ms. 30245]] p.35-39 [[D-B Mus.ms. Bach P 806]]
|207
|Nimm von uns, Herr, du treuer Gott (4 versus)
|<score>{<< {a'1} \\ \relative g' { r16 g f e f g f e f8 e16 d e4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.181
|208
|Nun bitten wir den Heiligen Geist
|<score>{\partial 2 << \relative g' { g4. fis16 g a2*1/4 } \\ \relative b { r8 <e c>4~8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.182
|209
|Nun bitten wir den Heiligen Geist
|<score>{<< \relative g' { g1 a2 a } \\ \relative b { r2 <c~ e> <c d> } >>}</score>
|-
|[[D-B Mus.ms. Bach P 802]] p.17-37 [[D-WRz Fol 49/11 (3)]]
|210
|Nun freut euch, lieben Christen gmein
|<score>{\relative g { r8 r16 fis g a b c b g a b c }}</score>
|-
|[[D-B Mus.ms. 22541/1]] p. 6-7 [[D-B Mus.ms. 22541/2]] p. 25
|211
|Nun komm, der Heiden Heiland
|<score>{\clef alto \key g \minor << \relative g' { g2 g8. bes16 a8. g16 f2 } \\ \relative d' { r4 d ees2 d4 a } \\ \\ \relative bes { r4 bes4~8 g c bes a g f } >>}</score>
|-
|[[Plauen Organ Book]]
|212
|Nun lob, mein Seel, den Herren
|<score>{\time 3/2 \partial 2 << \relative c'' { c2 c1 b2 a1 } \\ \relative g' { g2 g a g g f } \\ \\ \relative e' { e2 e1 e2 c1 } >>}</score>
|-
|[[D-B Mus.ms. 2681/2]] p.82-87 [[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.40-41, p.44-45 [[D-B Mus.ms. 30245]] p.70-74 [[D-B Mus.ms. Bach P 806]]
|213
|Nun lob, mein Seel, den Herren (3 versus)
|<score>{\clef alto \time 3/2 \partial 2 << \relative g' { g2 g1 fis2 e1*1/4 } \\ \relative g { g4 g8 a b4 g b c d fis,8 g a4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.42-43 [[D-B Mus.ms. 30245]] p.74-76 [[D-B Mus.ms. Bach P 806]] [[Ms. fol. Sp. 1439]] p.28-29
|214
|Nun lob, mein Seel, den Herren
|<score>{\time 3/2 \clef alto \relative c' { r2 r2 c c2. d8 c b2 a2. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|215
|Nun lob, mein Seel, den Herren
|<score>{\key g \major \time 3/2 \partial 2 << \relative g' { g2 g1 } \\ \relative c' { r8 c e c b2~8 b cis4 } >>}</score>
|-
|[[Andreas Bach Book]] f.110r
|216
|O lux beata trinitas (frag.)
|<score>{\relative e'' { e8 b g e d d' d d c2 }}</score>
|-
|[[D-B Mus.ms. 22541/1]] p. 69 [[D-B Mus.ms. 22541/2]] p. 106
|217
|Puer natus in Bethlehem
|<score>{\time 3/2 r2 r2 << \relative a' { a2 a1 a2 b2. } \\ \relative c' { c2 c1 a2~a1 } \\ \\ \relative e' { e2 1 d4 e f2 } >>}</score>
|-
|[[D-B Mus.ms. Bach P 801]] p.333-353 [[D-LÜmh Mus. U 212]] [[Lost BuxWV 218 Manuscript]]
|218
|Te Deum laudamus
|<score>{\time 3/4 \relative b' { r16 b c d e b c a c e d c b }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.104-105 [[D-B Mus.ms. 30280]] p.5
|219
|Vater unser im Himmelreich
|<score>{<< \relative a' { a1 a4. } \\ \relative d' { r4 d2 cis4 r4 a4*1/2 } \\ \\ \relative f' { r4 f4 e2 r4 e2*1/4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.200
|220
|Von Gott will ich nicht lassen
|<score>{\clef alto \partial 4 << \relative a { a4 e' fis g4. g8 c, } \\ \relative e { r4 r2 r4 e a } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.199-200
|221
|Von Gott will ich nicht lassen
|<score>{\partial 4 << \relative e' { r16 e fis gis a8 gis16 a b16 } \\ \relative c' { r4 r16 c b a gis8 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.311 [[D-B Mus.ms. 30280]] p.2
|222
|Wär Gott nicht mit uns diese Zeit
|<score>{<< \relative a' { a2. b4 c2 cis d e } \\ \relative c' { r4 c f2 a1~a2. g4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/2]] p.1-5
|223
|Wie schön leuchtet der Morgenstern
|<score>{\time 6/4 \clef bass g,1. << \relative a' { r4 \clef treble a g fis a fis }\\ {d1.} >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.148
|224
|Wir danken dir, Herr Jesu Christ
|<score>{\clef alto \time 3/2 << \relative a { a2 a a d1 e2 f4 g f e d } \\ \relative d { s1. s1. d2 d d } >>}</score>
|-
|[[S-N Finspong 1136:2]] p.1-2
|225
|Canzonetta in A Minor
|<score>{\relative a' { a16 a' gis a b, a' gis a c, a' gis a d, }}</score>
|}

In 2006, [[Johann Sebastian Bach's Buxtehude and Reincken Manuscripts|two manuscripts]] containing transcriptions by [[Johann Sebastian Bach]] of ''An Wasserflüssen Babylon'' by [[Johann Adam Reincken]] and the beginning of ''Nun freut euch...'' by Buxtehude in [[New German Tablature Notation]] were discovered.<ref>{{NdS2 2009}} 294-295.</ref>

=== Organ works in BuxWV anh. ===
[[File:Buxtehude Sonata.jpg|thumb|right|The opening to BuxWV anh. 5]]
{| class="wikitable"
|+ Caption text
|-
! Sources !! BuxWV<ref name="buxwv"></ref> !! Title !! Incipit !! Notes !! Ref.
|-
| [[Lowell Mason Codex]] p.81-83 || anh.5 || Sonata a 2 Clavir Pedal || <score><< \relative a' { \time 2/2 r2 a2~ a4 a a2 } \\ \relative d' { d2. d4 d2. cis4 } \\ \\ \relative f' { f2. f4 f2 e } >></score> || It is theorized that this is an organ transcription of an instrumental trio sonata by Buxtehude.{{Citation needed}} ||
|-
| || anh.11 || Erhalt uns Herr, bei deinem Wort || || ||
|}

=== Notable works not included in BuxWV ===
{| class="wikitable"
|-
! Source !! Title !! Incipt !! Notes !! Ref.
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] No.45 || Nun freuet / Euch Lieben Chri- / sten Gemein. / Auf 2. Clavier || <score>\relative d' { \key a \major d1 d2 a d cis~ cis4 }</score> || This chorale fantasia has been theoried to be a young composition by Buxtehude by [[Pieter Dirksen]]. || <ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor), ''Dietrich Buxtehude(?): Nun freut euch, lieben Christen gmein.'' Wiesbaden: Breitkopf & Härtel, 2006. Introduction: [https://www.breitkopf.com/assets/pdf/8548_PDF_EB8643_Vw.pdf www.breitkopf.com], accessed 14 August, 2023.</ref><ref>{{RISM|450101448}}</ref>
|}

== References ==
''See notes''

[[Category:Persons|Buxtehude, Dietrich]]
[[Category:Composers|Buxtehude, Dietrich]]
[[Category:Baroque Composers|Buxtehude, Dietrich]]
[[Category:Organists|Buxtehude, Dietrich]]
[[Category:Baroque|Buxtehude, Dietrich]]
[[Category:Norddeutsche Orgelschule|Buxtehude, Dietrich]]
[[Category:WVlist pages|Buxtehude, Dietrich]]

Dietrich Buxtehude

2024-11-06T23:50:24Z

WillsSchoolAccount: ritter catalogue note for BuxWV 192

[[File:"The Musical Party" by Johannes Voorhout.png|thumb|[[Musical Party (Voorhout)|"The Musical Party" by Johannes Voorhout]]. Buxtehude is now thought to be playing the Viola de Gamba. [[Jean-Adam Reincken]] is playing the harpsichord.]]
'''Dietrich Buxtehude''' (1637-1707)

''NOTE: this article was automatically generated from an entry submitted to '''wvlist.net'''. You can help add pictures and more information to this article!''

{{Stub}}

== Organ Works ==
=== BuxWV ===
Compositions by Buxtehude are classified according to ''Buxtehude-Werke-Verzeichnis'' (BuxWV). Before this, the works would typically be referred to by their location in the edition by [[Philipp Spitta]], for example "Sp.I:1", or "Erg." for the ''Ergänzungsband''<ref>[[Josef Hedar|Hedar, Josef]], ''Dietrich Buxtehudes Orgelwerke''. 372-373.</ref>.

=== Organ Works in BuxWV Catalogue ===
{| class="wikitable"
|-
! Sources<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''D. Buxtehude: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1997.</ref> !! BuxWV<ref name="buxwv">Karstädt, Georg. ''Thematisch-systematisches Verzeichnis der musikalischen Werke von Dietrich Buxtehude.'' Wiesbaden: Breitkopf & Härtel, 1985.</ref> !! Title !! Incipit !! Notes !! Ref.
|-
|RISM A/I B 5200<ref>{{RISM|990007776}}</ref>
|76
|Mit Fried und Freud ich fahr dahin
|<score>{\time 4/2 <<\relative d' { d1 a'2 a g } \\ \relative a { r4 a f a8 b c2. d8 c bes2 } \\ \relative f' { r2 r4 f e f8 g a4 f g2 } >>}</score>
|-
|[[Lowell Mason Codex]] p.137-141
|136
|Praeludium in C Major
|<score>{<< \relative g { r16 g a b c d e f g e f g a } \\ \relative g { r8 r16 g a b c d e c d e f } >>}</score>
|-
|[[Andreas Bach Book]] f.111v-113v
|137
|Praeludium in C Major
|<score>{\clef bass \relative c { r16 c e c g'8 g, r g c c, r4 }}</score>
|-
|[[US-NH LM 4838]] p.65-67
|138
|Praeludium in C Major
|<score>{\relative c'' { r16 c b a g e f g c, d e f g }}</score>
|-
|[[Schmahl Organ Tablatures]] (4) p.4-5 [[Lindemann Tablatures|S-L Wenster U:6]] [[D-B Mus.ms. 2681]] p.13-17 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|139
|Praeludium in D Major
|<score>{<< \relative a' { r8 r16 a d fis d a a'8 r8 r4 r8 } \\ \relative d' { s2 r16 d fis a d a fis d d'8 } >>}</score>
|-
|[[D-B Mus.ms. 2681]] p.18-22 [[US-Pc qM 786.8 B98]] p.1-5 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|140
|Praeludium in D Minor
|<score>{\relative g' { r16 <g e'> <a f'> <g e'> <f d'> <g e'> <f d'> <e cis'> <f d'> }}</score>
|-
|[[D-B Mus.ms. 2681]] p.23-28 [[US-Pc qM 786.8 B98]] p.6-9 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|141
|Praeludium in E Major
|<score>{\key e \major \relative b' { r16 b cis dis e b cis b32 a b16 a32 gis e'16~32 }}</score>
|-
|[[Lowell Mason Codex]] p.92-99 [[Lindemann Tablatures|S-L Wenster N:5]] [[D-B Mus.ms. 2681]] p.1-7 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|142
|Praeludium in E Minor
|<score>{\key e \minor \relative e' { r16 e g b g e c' a b e cis dis e }}</score>
|-
|[[D-B Mus.ms. Fot. Bü 227]] (Foto 535-538) p.1-4 [[D-B Mus.ms. 2681]] p.43-47 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|143
|Praeludium in E Minor
|<score>{\key e \minor \clef bass \relative e, { e4~16 e' dis e b b' a b e,8 }}</score>
|-
|[[Lowell Mason Codex]] p.134-137
|144
|Praeludium in F Major
|<score>{\clef bass \key f \major {f16 bes a bes g c' bes c' } \clef treble << \relative c' { c16 f e f d } \\ {a4 bes8} >>}</score>
|-
|[[D-B Mus.ms. 30381]] No. 3 [[D-B Mus.ms. 2681]] p.31-37 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|145
|Praeludium in F Major
|<score>{\relative f'' { r16 e f e f c d bes c a bes g a }}</score>
|-
|[[B-Bc 26659]] f.22v-24v [[D-DS Mus.ms. 1462/1]] p.1-7 [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]] [[D-LEm Becker III.8.6]] p.1-7 [[A-Wn Mus. Hs. 5011]] p.1
|146
|Praeludium in F-Sharp Minor
|<score>{\key fis \minor \relative fis'' { \repeat percent 4 { fis16 a eis gis } fis16 }}</score>
|-
|[[S-L Engelhart 216]]
|147
|Preludium in G Major
|<score>{\clef bass \relative g { r8 g fis16 g e fis d g b, d c g' a, }}</score>
|-
|[[Lowell Mason Codex]] p.120-125 [[Grobe Tablature]] [[US-Pc qM 786.8 B98]] p1.5
|148
|Praeludium in G Minor
|<score>{\key g \minor << \relative d'' { r16 d ees c d bes c a bes g a fis g } \\ \relative d' { r4 r16 d ees c d bes c a bes } >>}</score>
|-
|[[Lindemann Tablatures|S-L Wenster U:5]] [[D-B Mus.ms. 2681]] p.75-81 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|149
|Praeludium in G Minor
|<score>{\key g \minor \relative g'' { \tuplet 6/4 4 { r16 fis g a g fis g cis, d e d cis d }}}</score>
|-
|[[Andreas Bach Book]] f. 6, 53, 54r
|150
|Praeludium in G Minor
|<score>{\clef alto \key g \minor \relative g { g8. 16 a g a32 g a fis g16 d bes' g d' }}</score>
|-
|[[Schmahl Organ Tablatures]] (1) [[Möller Manuscript]] f.47-48
|151
|Praeludium in A Major
|<score>{\key a \major \relative e'' { e8. a16 cis, d e b cis d a b cis }}</score>
|-
|[[Lowell Mason Codex]] p.84-87
|152
|Praeludium quarti toni
|<score>{\relative e'' { e8 d16 c b c d e gis, a b a gis }}</score>
|-
|[[D-B Mus.ms. 2681]] p.8-12 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|153
|Praeludium in A minor
|<score>{\clef alto << \relative e' { r2 e16 a gis b a } \\ \relative e { e16 a gis b a c b d c8 b16 d c } >>}</score>
|-
| [[Lowell Mason Codex]] p.142-147
|155
|Toccata in D Minor
|<score>{\relative d'' { d8. a16 bes a f g } << \relative a' { <a f>4 }\\ \relative cis' {r16 cis d d, } >>}</score>
|-
| [[D-B Mus.ms. 2681]] p.66-71 [[US-Pc qM 786.8 B98]] p.10-15 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] f.18r-20r [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|156
|Toccata in F Major
|<score>{\relative c' { r32 c d e f g a bes c a bes c d e f g a16 }}</score>
|-
|[[BuxWV 157 Manuscript]]
|157
|Toccata in F Major
|<score>{\relative f' { f16 c d e f g a bes c a bes c d e f g a c, d e f }}</score>
|-
|[[Lowell Mason Codex]] p.88-91
|158
|Praeambulum in A Minor
|<score>{\relative e'' { e4. d16 c b8 c16 d gis,8 a16 b e,4 }}</score>
|-
|[[Andreas Bach Book]] f.33v-35r [[D-B Mus.ms. 30069]] p.42-43
|159
|Ciacona in C Minor
|<score>{\key c \minor \time 3/4 << \relative c'' { r8 c16 b c4. d8 b8 } \\ \relative e' {r8 ees16 d ees8. d16 c4 d8 } \\ \relative g' { r4 g f g8 } >>}</score>
|-
|[[Andreas Bach Book]] f.91-92v
|160
|Ciacona in E Minor
|<score>{\key e \minor \time 3/4 << \relative a' { r8 a b4. c8~8 } \\ \relative a { r4 r r8 a b } \\ \relative fis' { r4 r8 fis g4 fis8 } >>}</score>
|-
|[[Andreas Bach Book]] f.107v-108v
|161
|Passacaglia in D Minor
|<score>{\partial 2 \key d \minor \time 3/2 << \relative f'' { r4 f~f e2. r4 g8 a f4 } \\ \relative d' { r4 d~d2 cis r4 e~e } \\ \relative a' { r4 a4~1 r4 a~a }>>}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:2]]
|162
|Praeludium manualiter in G Major
|<score>{\relative g'' { g8 a16 g fis a g fis g b a g fis e d cis d }}</score>
|-
|[[D-B Mus.ms. 2681]] p.58-65 [[D-Bim Mus.ms. Buxtehude 1]]
|163
|Praeludium manualiter in G Minor
|<score>{\relative g'' { g16 aes g f ees d c bes a g fis g~ g32 a }}</score>
|-
|[[D-B Mus.ms. 2681]] p.72-74 [[US-NH LM 4983]] p.1-3 [[S-Uu Instr. Mus. i. hs. 410]] p.72-73 [[D-B Mus.ms. 30194]] (5) p. 1-2
|164
|Toccata manualiter in G Major
|<score>{\relative g' { g8. a16 b fis g d e fis b, d a }}</score>
|-
|[[Möller Manuscript]] f.47-48 [[D-LEm Mus.ms. S 4]] p.1-2
|165
|Toccata manualiter in G Major
|<score>{\clef bass \relative g { <g g, d''>1 r16 g fis g d g b, d g,2 }}</score>
|-
|[[Lowell Mason Codex]] p.100-105 [[D-B Mus.ms. 40268]] p.64-66
|166
|Canzona in C Major
|<score>{\relative c' { c16 e d e f g f e d f e f g }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:6]]
|167
|Canzonetta in C Major
|<score>{\relative g' { \repeat unfold 2 \repeat tremolo 4 { g8} a8 a e f g e f d e }}</score>
|-
|[[D-B Mus.ms. 2681]] p.48-51 [[D-LEm Becker II.2.51]] f.1v-3r [[D-Bim Mus.ms. Buxtehude 1]]
|168
|Canzona in D Minor
|<score>{\relative a' { a2 d,8 d' c bes a16 bes c8 f,16 g a8 d, }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:9]]
|169
|Canzonetta in E Minor
|<score>{\relative b' { r8 b e, fis g16 fis g a g8. fis16 e8 }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:8]]
|170
|Canzona in G Major
|<score>{\key g \major \relative d'' { d16 e d c b g' f g e f d e c }}</score>
|-
|[[D-B Mus.ms. 2681]] p.29-30 [[D-Bim Mus.ms. Buxtehude 1]]
|171
|Canzonetta in G Major
|<score>{\relative d'' { \repeat tremolo 2 d16 \repeat tremolo 2 b16 \repeat tremolo 2 e16 \repeat tremolo 2 a,16 \repeat tremolo 2 b16 \repeat tremolo 2 g16 \repeat tremolo 2 d'16 \repeat tremolo 2 fis,16 }}</score>
|-
|[[US-NH LM 4983]] p.6-7
|172
|Canzonetta in G Major
|<score>{\relative d'' { r16 d d d e d e b c b c a d }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:1]]
|173
|Canzona in G Minor
|<score>{\key g \minor \relative d'' { d4. g16 d ees c g' c, d bes g' bes, c }}</score>
|-
|[[Andreas Bach Book]] f.61v-62v
|174
|Fuga in C Major
|<score>{\time 12/8 \relative c' { r4 c8 g' a g e4 e8 a bes a g4 g8 c4 }}</score>
|-
|[[Lowell Mason Codex]] p.117-119
|175
|Fuga in G Major
|<score>{\relative d'' { d4 d8 d e d16 c b8 b16 c d8 a d c }}</score>
|-
|[[D-B Mus.ms. 2681]] p.38-42 [[D-Bim Mus.ms. Buxtehude 1]]
|176
|Fuga in B-flat Major
|<score>{\key bes \major \relative f' { f8 16 16 8 16 16 g8 aes16 g f g ees f d }}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 11419]] p.101-102
|177
|Ach Gott und Herr (2 Versus)
|<score>{<< \relative f' { r4 f8 e f g a b c } \\ { d'1 c'8 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.141-142
|178
|Ach Herr, mich armen Sünder
|<score>{\clef bass << \relative e' { s1 s r2 e a } \\ \relative e { r1 r2 e a2. g4 f2 } \\ \\ \relative b { r2 b2 e2. d4 c1~4 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.356-358
|179
|Auf meinen lieben Gott
|<score>{\key e \minor \relative e' { \partial 8 e8 e4. fis8 g8 g32 a b16 a8. g32 a b2 }}</score>
|-
|[[Frankenberger Walther Manuscript]] p.113-114
|180
|Christ, unser Herr, zum Jordan kam
|<score>{\relative d' { d2~8 e32 f g16 f8. e16 f2 }}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 30245]] p.77-78 [[D-B Mus.ms. Bach P 806]]
|181
|Danket dem Herren (3 Versus)
|<score>{\key g \minor << \relative g' { g1 bes2*1/2 } \\ \relative c' { r4 r8 c16 b c8 d ees4~4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.64-66 [[D-B Mus.ms. 22541/2]] p.104-106 [[Ms. fol. Sp. 1440]]
|182
|Der Tag, der ist so freudenreich
|<score>{\clef alto \key g \major <<\relative g' { r2 g g g2*1/2 } \\ \relative g { r2 r4 g8 a b c~c b c4 } \\ \relative b { r2 r4 b8 c d e d4 e4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.151-152
|183
|Durch Adams Fall ist ganz verderbt
|<score>{<< \relative a' { a1 a2 a } \\ \relative d' { r4 d cis d a cis d } \\ \relative f' { r4 f e f cis e f2 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.305-306
|184
|Ein feste Burg ist unser Gott
|<score>{\relative c'' { r16 c d e c e b d c2 c4~16}}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.318
|185
|Erhalt uns, Herr, bei deinem Wort
|<score>{\key g \minor \relative g' { r16 g bes g d' a bes fis g4~16 }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.157-158 [[D-B Mus.ms. 30245]] p. 95-96 [[Ms. fol. Sp. 1439]]
|186
|Es ist das Heil uns kommen her
|<score>{\relative a' { r8 a g8. fis16 g2 g g g4. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.295-296
|187
|Es spricht der Unweisen Mund wohl
|<score>{\key g \major << \relative e' { r4 e e d8 c b4 e4~8 } \\ \relative c' { r4 c c b8 a g2 a4 } \\ \relative g' { g1 g4. a16 g f8 } >>}</score>
|-
|[[D-B Mus.ms. Bach P 802]] p.57-69
|188
|Gelobet seist du, Jesu Christ
|<score>{\clef alto << \relative d' { d2 d4 d e2 d r8 } \\ \relative g { r1 r4 g g g a2 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.72-73 [[D-B Mus.ms. 22541/2]] p.100-101
|189
|Gelobet seist du, Jesu Christ
|<score>{<< \relative b { r16 b c d g, d' e fis g2 g } \\ \relative g' { r2 r8 g e c r <c e> <g b> } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.70-71
|190
|Gott der Vater wohn uns bei
|<score>{<< \relative g' { g4 g a b c c b } \\ \relative c' { c4 c~c b a2 g4 } \\ \\ \relative e' { e4 e fis g~g fis g } >>}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 30245]] p.99-100
|191
|Herr Christ, der einig Gottes Sohn
|<score>{\key g \major << {g'1 g'2 b'2*1/4 } \\ \relative b { r4 b c4. d8 e b e4~e8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.22-23 [[Frankenberger Walther Manuscript]] p.197-198
|192
|Herr Christ, der einig Gottes Sohn
|<score>{\partial 2 \key g \major << \relative g' { g2 g4. a8 b2 } \\ \relative b { r8 b c d e4 d8 c b } \\ \relative fis' { s2 s4. fis8 g4. } >>}</score>
|Beginning incipit in [[Ritter Catalogue]] <score>\relative fis' { \key g \major r8 fis\noBeam g16[ a g32 a g fis] g2*1/4 }</score>
|<ref>[[Michael Belotti|Belotti, Michael]] (editor). ''Dieterich Buxtehude: The Collected Works.'' Volume 16: Keyboard Works, Part 2: Organ Chorales, Section B: Commentary. New York: The Broude Trust, 2010. 30.</ref>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|193
|Herr Jesu Christ, ich weiß gar wohl
|<score>{\partial 2 << \relative a' { a2 a gis a } \\ \relative d' { s2 r4 d8 c b a b4 a4 } \\ \relative a' { r4 a8 g f e f e d c d4 c4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|194
|Ich dank dir, lieber Herre
|<score>{\key f \major \clef alto \relative f' { \partial 2 <f c a>2 4 4 <f d a>4 <g d~ g,~> <e d g,>8 }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|195
|Ich dank dir shon durch deinen Sohn
|<score>{\time 4/2 \key f \major \relative c' { c1 2 2 f1. d2 e1. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|196
|Ich ruf zu dir, Herr Jesu Christ
|<score>{<< \relative a' { a1 } \\ \relative a, { r16 \clef bass a16 b cis d e f g a cis, d e f g a d, } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.96-97 [[D-B Mus.ms. 22541/2]] p.103
|197
|In dulci jubilo
|<score>{\key g \major \time 3/2 \partial 2 << \relative g' { g2 g1 a4 b8 c b2. } \\ \relative d' { d2 e1 d2~2. } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.162
|198
|Jesus Christus, unser Heiland, der den Tod
|<score>{\key f \major \clef alto << \relative g' { g2 g } \\ \relative c' { r2 r16 c b a g8 } \\ \relative f' { r16 f ees d c8 d ees d16 c bes8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.165-166
|199
|Komm, Heiliger Geist, Herre Gott
|<score>{\key f \major \relative c' { r16 c d e f g a bes c2 d }}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.167-168
|200
|Komm, Heiliger Geist, Herre Gott
|<score>{\key f \major << { c''1} \\ \relative e' { r16 <e g> <f a> <g bes> <f a>8 <e g> <f a>2 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.179-180
|201
|Kommt her zu mir, spricht Gottes Sohn
|<score>{\key g \minor \clef alto << \relative d' { d2 4 4 g2. fis4 g } \\ \relative g { r2 r4 g g g d'2~4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.100 [[D-B Mus.ms. 22541/2]] p.101
|202
|Lobt Gott, ihr Christen allzugleich
|<score>{\key g \major \partial 4 \relative g { g4 d' d d d e d8. c16 b4. }}</score>
|-
|[[B-Bc 26659]] p.3-6
|203
|Magnificat primi toni
|<score>{\key d \minor \relative d' { d16 e f g a b cis d e f g a r16 e,}}</score>
|-
|[[D-B Mus.ms. 30280]] p.26 [[D-LEm Becker III.8.26]]
|204
|Magnificat primi toni
|<score>{\key d \minor \clef bass \relative e { r16 e f g f a g bes a d cis e d }}</score>
|-
|[[D-B Mus.ms. 30280]] p.27 [[D-LEm Becker III.8.26]]
|205
|Magnificat noni toni
|<score>{\key d \minor \clef alto << \relative d' { r4 d f2~4 e8 d e4 } \\ \relative a { r2 r4 a c2. } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.96
|206
|Mensch, willt du leben seliglich
|<score>{\clef bass << \relative b { r4 b c2~4 b8. a16 b8} \\ \relative e { e2. fis4 g2 gis8 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.98-99, p.102-103 [[D-B Mus.ms. 30245]] p.35-39 [[D-B Mus.ms. Bach P 806]]
|207
|Nimm von uns, Herr, du treuer Gott (4 versus)
|<score>{<< {a'1} \\ \relative g' { r16 g f e f g f e f8 e16 d e4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.181
|208
|Nun bitten wir den Heiligen Geist
|<score>{\partial 2 << \relative g' { g4. fis16 g a2*1/4 } \\ \relative b { r8 <e c>4~8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.182
|209
|Nun bitten wir den Heiligen Geist
|<score>{<< \relative g' { g1 a2 a } \\ \relative b { r2 <c~ e> <c d> } >>}</score>
|-
|[[D-B Mus.ms. Bach P 802]] p.17-37 [[D-WRz Fol 49/11 (3)]]
|210
|Nun freut euch, lieben Christen gmein
|<score>{\relative g { r8 r16 fis g a b c b g a b c }}</score>
|-
|[[D-B Mus.ms. 22541/1]] p. 6-7 [[D-B Mus.ms. 22541/2]] p. 25
|211
|Nun komm, der Heiden Heiland
|<score>{\clef alto \key g \minor << \relative g' { g2 g8. bes16 a8. g16 f2 } \\ \relative d' { r4 d ees2 d4 a } \\ \\ \relative bes { r4 bes4~8 g c bes a g f } >>}</score>
|-
|[[Plauen Organ Book]]
|212
|Nun lob, mein Seel, den Herren
|<score>{\time 3/2 \partial 2 << \relative c'' { c2 c1 b2 a1 } \\ \relative g' { g2 g a g g f } \\ \\ \relative e' { e2 e1 e2 c1 } >>}</score>
|-
|[[D-B Mus.ms. 2681/2]] p.82-87 [[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.40-41, p.44-45 [[D-B Mus.ms. 30245]] p.70-74 [[D-B Mus.ms. Bach P 806]]
|213
|Nun lob, mein Seel, den Herren (3 versus)
|<score>{\clef alto \time 3/2 \partial 2 << \relative g' { g2 g1 fis2 e1*1/4 } \\ \relative g { g4 g8 a b4 g b c d fis,8 g a4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.42-43 [[D-B Mus.ms. 30245]] p.74-76 [[D-B Mus.ms. Bach P 806]] [[Ms. fol. Sp. 1439]] p.28-29
|214
|Nun lob, mein Seel, den Herren
|<score>{\time 3/2 \clef alto \relative c' { r2 r2 c c2. d8 c b2 a2. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|215
|Nun lob, mein Seel, den Herren
|<score>{\key g \major \time 3/2 \partial 2 << \relative g' { g2 g1 } \\ \relative c' { r8 c e c b2~8 b cis4 } >>}</score>
|-
|[[Andreas Bach Book]] f.110r
|216
|O lux beata trinitas (frag.)
|<score>{\relative e'' { e8 b g e d d' d d c2 }}</score>
|-
|[[D-B Mus.ms. 22541/1]] p. 69 [[D-B Mus.ms. 22541/2]] p. 106
|217
|Puer natus in Bethlehem
|<score>{\time 3/2 r2 r2 << \relative a' { a2 a1 a2 b2. } \\ \relative c' { c2 c1 a2~a1 } \\ \\ \relative e' { e2 1 d4 e f2 } >>}</score>
|-
|[[D-B Mus.ms. Bach P 801]] p.333-353 [[D-LÜmh Mus. U 212]] [[Lost BuxWV 218 Manuscript]]
|218
|Te Deum laudamus
|<score>{\time 3/4 \relative b' { r16 b c d e b c a c e d c b }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.104-105 [[D-B Mus.ms. 30280]] p.5
|219
|Vater unser im Himmelreich
|<score>{<< \relative a' { a1 a4. } \\ \relative d' { r4 d2 cis4 r4 a4*1/2 } \\ \\ \relative f' { r4 f4 e2 r4 e2*1/4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.200
|220
|Von Gott will ich nicht lassen
|<score>{\clef alto \partial 4 << \relative a { a4 e' fis g4. g8 c, } \\ \relative e { r4 r2 r4 e a } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.199-200
|221
|Von Gott will ich nicht lassen
|<score>{\partial 4 << \relative e' { r16 e fis gis a8 gis16 a b16 } \\ \relative c' { r4 r16 c b a gis8 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.311 [[D-B Mus.ms. 30280]] p.2
|222
|Wär Gott nicht mit uns diese Zeit
|<score>{<< \relative a' { a2. b4 c2 cis d e } \\ \relative c' { r4 c f2 a1~a2. g4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/2]] p.1-5
|223
|Wie schön leuchtet der Morgenstern
|<score>{\time 6/4 \clef bass g,1. << \relative a' { r4 \clef treble a g fis a fis }\\ {d1.} >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.148
|224
|Wir danken dir, Herr Jesu Christ
|<score>{\clef alto \time 3/2 << \relative a { a2 a a d1 e2 f4 g f e d } \\ \relative d { s1. s1. d2 d d } >>}</score>
|-
|[[S-N Finspong 1136:2]] p.1-2
|225
|Canzonetta in A Minor
|<score>{\relative a' { a16 a' gis a b, a' gis a c, a' gis a d, }}</score>
|}

In 2006, [[Johann Sebastian Bach's Buxtehude and Reincken Manuscripts|two manuscripts]] containing transcriptions by [[Johann Sebastian Bach]] of ''An Wasserflüssen Babylon'' by [[Johann Adam Reincken]] and the beginning of ''Nun freut euch...'' by Buxtehude in [[New German Tablature Notation]] were discovered.<ref>{{NdS2 2009}} 294-295.</ref>

=== Organ works in BuxWV anh. ===
[[File:Buxtehude Sonata.jpg|thumb|right|The opening to BuxWV anh. 5]]
{| class="wikitable"
|+ Caption text
|-
! Sources !! BuxWV<ref name="buxwv"></ref> !! Title !! Incipit !! Notes !! Ref.
|-
| [[Lowell Mason Codex]] p.81-83 || anh.5 || Sonata a 2 Clavir Pedal || <score><< \relative a' { \time 2/2 r2 a2~ a4 a a2 } \\ \relative d' { d2. d4 d2. cis4 } \\ \\ \relative f' { f2. f4 f2 e } >></score> || It is theorized that this is an organ transcription of an instrumental trio sonata by Buxtehude.{{Citation needed}} ||
|-
| || anh.11 || Erhalt uns Herr, bei deinem Wort || || ||
|}

=== Notable works not included in BuxWV ===
{| class="wikitable"
|-
! Source !! Title !! Incipt !! Notes !! Ref.
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] No.45 || Nun freuet / Euch Lieben Chri- / sten Gemein. / Auf 2. Clavier || <score>\relative d' { \key a \major d1 d2 a d cis~ cis4 }</score> || This chorale fantasia has been theoried to be a young composition by Buxtehude by [[Pieter Dirksen]]. || <ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor), ''Dietrich Buxtehude(?): Nun freut euch, lieben Christen gmein.'' Wiesbaden: Breitkopf & Härtel, 2006. Introduction: [https://www.breitkopf.com/assets/pdf/8548_PDF_EB8643_Vw.pdf www.breitkopf.com], accessed 14 August, 2023.</ref><ref>{{RISM|450101448}}</ref>
|}

== References ==
''See notes''

[[Category:Persons|Buxtehude, Dietrich]]
[[Category:Composers|Buxtehude, Dietrich]]
[[Category:Baroque Composers|Buxtehude, Dietrich]]
[[Category:Organists|Buxtehude, Dietrich]]
[[Category:Baroque|Buxtehude, Dietrich]]
[[Category:Norddeutsche Orgelschule|Buxtehude, Dietrich]]
[[Category:WVlist pages|Buxtehude, Dietrich]]

Ritter Catalogue

2024-11-06T23:44:16Z

WillsSchoolAccount: Created page with "'''D-BEU Mus.ms. 159''' is a catalogue of organ works compiled by August Gottfried Ritter. Despite it's limited information (consisting of titles, some rudimentary source information, and an incipit of a few measures), it remains a valuable source of information to musicologists. == Description == Ritter started collecting early organ music by around 1830 in his teenager years, and he would dutifully enter the works he copied into this catalogue. Several times in Ri..."

'''D-BEU Mus.ms. 159''' is a catalogue of organ works compiled by [[August Gottfried Ritter]]. Despite it's limited information (consisting of titles, some rudimentary source information, and an incipit of a few measures), it remains a valuable source of information to musicologists.

== Description ==
Ritter started collecting early organ music by around 1830 in his teenager years, and he would dutifully enter the works he copied into this catalogue. Several times in Ritter's life were particularly fruitful for this discovery, including his studies at the ''Institut für Kirchenmusik'' in Berlin and his friendship with [[Philipp Spitta]], a connection which allowed Ritter access to many other important manuscripts.

== Dietrich Buxtehude ==
The catalogue of works by [[Dietrich Buxtehude]] makes known a variety of things about the his works and how they were available to Ritter, and this catalogue even reveals at least one alternate reading which may correct a "modernization" of the source by [[Johann Gottfried Walther]].

Since Ritter made the entries in order of when he copied the piece, some clues about when pieces were discovered and copied by him can be found. Additionally, we can ascertain which manuscripts (known to us) Ritter copied certain pieces from, including the [[Andreas Bach Book]], the lost [[Grobe Tablature]], several manuscripts copied by [[Johann Gottfried Walther]], and the [[Frankenberger Walther Manuscript]]<ref>See Belotti, 13-14</ref>.

One incipit of particular note is that for Buxtehude's work BuxWV 192. Called ''Herr Christ, der einig Gottes Sohn'' in the surviving [[Johann Gottfried Walther]] manuscripts, this piece is exceptionally called ''Herr Jesu, Gnadensonne. Trio.'' and features an opening ornament on the first note of the chorale which is not found in any other copy (instead being replaced by a half-rest).<ref>Belotti, 30.</ref> Besides being a valuable reading for this piece, this is evidence of this piece's existence in some other unknown source, and it is also evidence for one of the ways that [[Johann Gottfried Walther]] would modify pieces that he was copying.

<score><<
\new GrandStaff <<
\new Staff \with { \clef soprano \key g \major } << \relative fis' { r8 fis g16[ a g32 a g fis] g2 | g4. a8 } \\ \relative b { r2 r8 b[ c d] | e4 d8[ c] } \\ \relative fis' { s1 | s4 b8\rest fis8 } >>
\new Staff \with { \clef bass\key g \major } \relative c' { R1 | r8 c[ b a] }
>>
>>
\layout {
\context { \Voice \autoBeamOff }
}</score>

=== Puer Natus in Bethlehem ===
The [[#Müller|Incerta Mulleriana]] section of this catalogue includes an entry for Buxtehude's work BuxWV 217, ''Puer natus in Bethlehem'' (measures 1-3). It is identical to the copy of this piece found in Walther's manuscripts, except for the missing rests from the first (pickup) measure. Based on the possible originating location of this manuscript, it is possible that this copy of the piece (which would have been known to Ritter) would be closer to Buxtehude's autograph.

== Müller ==
One section of this catalogue is an incipit catalogue titled ''Incerta Mulleriana: 34-57''.

This is a catalogue of part of an unknown manuscript owned or compiled by [[Johann Immanuel Müller]].

This catalogue contains 22 works numbered 34 through 55. All of the works are Christmas chorales, and all of them include a title but no composer.

Some of these works have been connected to composers based on concordances elsewhere. The composers include [[Johann Heinrich Buttstädt]], [[Johann Gottfried Walther]], and [[Johann Michael Bach|Johann Michael]] and [[Johann Sebastian Bach]]. It also contains an entry for the setting of the Buxtehude composition ''Puer natus in Bethlehem''.

== References ==
[[Michael Belotti|Belotti, Michael]] (editor). ''Dieterich Buxtehude: The Collected Works.'' Volume 16: Keyboard Works, Part 2: Organ Chorales, Section B: Commentary. New York: The Broude Trust, 2010. 13-14, 31-32, 104.

D-B Mus.ms. 30382

2024-10-11T18:59:24Z

WillsSchoolAccount: Created page with "{{Stub}} == References == {{RISM|455038266}} {{OnlFac|sig=D-B Mus.ms. 30382|url=http://resolver.staatsbibliothek-berlin.de/SBB0001A74900000000|urlc=digital.staatsbibliothek-berlin.de|date=11 October, 2024}}"

{{Stub}}

== References ==
{{RISM|455038266}}

{{OnlFac|sig=D-B Mus.ms. 30382|url=http://resolver.staatsbibliothek-berlin.de/SBB0001A74900000000|urlc=digital.staatsbibliothek-berlin.de|date=11 October, 2024}}

Effects of World War II on Organs and Organ Music

2024-08-01T17:50:38Z

WillsSchoolAccount:

[[File:00 246 Hansestadt Lübeck - Marienkirche.jpg|thumb|right|The bells in the [[Marienkirche, Lübeck]], which were destroyed on Palm Sunday, 1942.]]
In addition to bombings, genocides, and horrific loss of human life and destruction, [[WWII]] was devastating for the pipe organ in Europe. Countless priceless historical organs were destroyed, manuscripts were taken away for safe-keeping and never found after the war, organists and musicologists were drafted into the war and killed or held in concentration camps. The effects of World War II continue to be felt in modern-day musicology of early organ music, as many important manuscripts continue to be lost, forcing musicologists to rely on earlier musicological editions.

This article is an incomplete overview of different ways that World War II impacted the organ, its music, and its performers and studiers. ''Please refer to each article for references for each of these facts (except for bullet points which to not link to any articles).''

{{Stub}}

== Germany ==
* The two organs in [[Marienkirche, Lübeck]], which both had major historical value, were destroyed in bombings on Palm Sunday, 1942.
* The musicologist [[Fritz Dietrich]] was drafted into the war in 1944 and went missing while enlisted.
* [[Rudolph van Beckerath]] was drafted into the war and later captured by the Americans, and held as a POW from 1945-1946.
* [[Hugo Distler]] committed suicide on All Saints Day, 1942, possibly due to depression of living in Nazi Germany and fear of being conscripted.
* Examples of important manuscripts that went missing include [[BuxWV 157 Manuscript|the only manuscript containing the Toccata in F Major (BuxWV 157) by Buxtehude]]. [[Lost BuxWV 218 Manuscript|Another manuscript containing the setting of Te Deum]] by Buxtehude is valuable because it includes differing readings which could indicate editorial changes by [[Johann Gottfried Walther]]. In both of the previous examples, we are left with earlier critical editions which attempt to exactly recreate the readings of each manuscript.{{Citation needed}}
** A few other notable manuscripts were taken away and later ended up in Poland, including [[PL-Kj Mus.ant.pract. N 250]] (the only surviving copy of the ), the [[Schmahl Organ Tablatures]], and [[PL-Kj Mus.ms. 40316]] previously in the ''Staatsbibliothek,'' Berlin (one of the important manuscripts for the music of [[Peeter Cornet]]).

== Poland ==
* The depressingly-small number of known tablatures of early organ music in Poland was made smaller by the burning of some manuscripts, including organ tablatures such as the [[Warsaw Musical Society Tablature]].
* The musicologist [[Jerzy Gołos]] was deafened in one ear due to an explosion during the Warsaw Uprising.

== Italy ==
* In a POW camp in Bellaria near Remini, a [[Rimini Sheet-Metal Organ|pipe organ]] was constructed out of scrap metal and wood.

[[Category:Lists]]

Johann Adam Reincken

2024-06-17T14:09:15Z

WillsSchoolAccount: first paragraph reflects more usual name

[[File:"The Musical Party" by Johannes Voorhout.png|thumb|"The Musical Party" by Johannes Voorhout. Reincken is playing the harpsichord.]]
'''Johann Adam Reincken''' (?-1722) (also known as Jan Adam or Jan Adams) was a German organist and composer.

== Life ==
The year of Reincken's birth is not known. It has been theorized to be 1623 or 1628, but, if true, this would mean that several events in his life were unusually late, such as the beginning of his musical study. There is evidence of someone named "Jan Reinse" being baptized in Deventer on 10 December 1643. "This date, too, is problematic, but it is at least consistent with the baptismal records of Adam Reincken's other children in 1639, 1640 and 1641,"<ref>Grapenthin</ref>. He died in Hamburg in 1722.

== Works ==
=== Lost manuscripts ===
The Fugue in G Minor and Toccata in G Minor do not appear in any remaining manuscripts.

==== Fugue in G Minor<ref name="beckmannbreit">Beckmann, Breitkopf</ref> ====
The Fugue in G Minor is known to have been located in [[D-DS Ms. Nr. 4061]]. This manuscript has been lost (it contained another fugue by Reincken as well), and only an incipit from a catalogue listing of it remains. However, one of the pieces had already been published by in ''Historischen Klavierkonzerten'' vol. 3 by Buchmayer.

====Toccata in G Minor<ref name="beckmannmdno">Beckmann, MdNO</ref>====
The Toccata in G Minor was published in ''Le parfait organiste'' by [[François Joseph Fétis]] in 1830. The manuscript that this piece is from is not known (the source of the manuscript is recorded as "dans les bibliotheques de plusieurs mateurs, en Allemagne"), as well as its fate, wether it has been destroyed or lost. Apparently this publication was almost entirely forgotten, as this piece was not included in any edition of the known keyboard works of Reincken, and this piece was revealed to [[Klaus Beckmann]] by [[Ewald Kooiman]].

=== List ===
{| class="wikitable"
|+ Keyboard works by Jan Adams Reincken
|-
! Source(s) !! Title !! Incipit !! Notes !! Ref.
|-
!colspan="5"|Chorale Fantasias
|-
| [[D-B Mus.ms. Bach P 802]] p.38-56 [[NL-At 205-C-16.]] Faszikel 2 || Was kan uns kommen an für noth. á 2 Clav: et Pedal. J. Adam Reincke || <score><< \relative d' { r8 \clef treble d e fis g a b c | d2 } \\ \relative d { r4 r8 d e fis g a | b c d4 } \\ \relative g, { \clef bass g1 } >></score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB000159C400000000 digital.staatsbibliothek-berlin.de]</ref> <ref name="ap">Apel, Willi</ref><ref name="beckmannmdno">Beckmann, MdNO</ref>
|-
| [[D-Bhm Altnickol: Mus.ms. H 9364]]p.1-19 [[D-Bhm Spitta: Mus.ms. 6639/1484]]p.1-23 [[D-LÜh Mus. U 85]] p.1-16 [[NL-At 205-C-16.]] Faszikel 1 || An Waßer flüßen Babylon. Sampt 2. Clavier et pedal. Joh. Adam Reincke || <score><< \relative c'' { \key f \major r2 c4~c16 bes a g | f4 f' e8 f16 e d8 e16 d } \\ \relative c' { c1 d2 c } >></score> || || <ref name="beckmannmdno"></ref>
|-
!colspan="5"|Toccatas
|-
| [[Andreas-Bach Book]] f.45-48 || Toccata || <score><< \relative d'' { \key g \major r16 d e fis g32 fis g fis g fis e fis g16 } \\ <g d' g'>1*1/2\laissezVibrer >></score> || || <ref name="ap"></ref>
|-
| || "Toccate" || <score>\relative g' { <g d bes>1 <bes g d> }</score> || Original source lost. Based on edition by Fétis. || <ref name="beckmannmdno"></ref>
|-
!colspan="5"|Fugues
|-
| [[D-DS Ms. Nr. 4061]] || Fuga || <score>\relative g' { \key f \major g4 r16 a bes c d a bes c d a bes c | bes8 g }</score> || This source is lost. Based on earlier editions || <ref name="beckmannbreit">Beckmann, Breitkopf</ref>
|-
!colspan="5"|Partitas
|-
| [[Andreas-Bach Book]] || Partite diverse spora l'Aria: Schweiget mir von Weiber nahmem, altrimente chamata La Meyerin || <score><< \relative b' { \key g \major \clef alto b4. d8 a4 b | g4*1/2 } \\ \relative g { g4. g8~g8 fis g d | e4.*1/3 } \\ \relative fis' { s2 s4 r8 fis | r8 } \\ \relative d' { r8 d e b c d8~ d4 | r8 } >></score> || 18 partitas || <ref name="ap"></ref>
|-
| [[Andreas-Bach Book]] || Ballet ex E.g. || <score>\relative b' { \key g \major b8. e,16 b'8. 16 b4.~ b16 b | e8. }</score> || Theme, 10 variations || <ref name="ap"></ref>
|-
!colspan="5"|Suites"
|-
| [[Möller Manuscript]] f.15v-17r || Suite ex G{{Natural}} || <score>\relative d' { \set tieWaitForNote = ##t \key g \major \partial 4 r16 d e fis | g4~ g16 b,~ d~ g~ <g~ d b>4 g16 g fis e }</score> || Alamande, Courande, Sarabance, Gugue || <ref name="ap"></ref><ref name="mol">[http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000000 digital.staatsbibliothek-berlin.de], accessed 17 August, 2023.</ref>
|-
| [[Möller Manuscript]] f.29r-31r || Suitte ex C{{Natural}} di Joh. Ad. Reincke || <score>\relative c'' { \partial 4 r16 c b a g f e d c4 }</score> || Allemand, Courante, Sarabande, Gigue || <ref name="ap"></ref><ref name="mol"></ref>
|-
| [[S-Uu Ms. Ihre 285]] || Suite in E minor || <score><< \relative b' { \key g \major \partial 4 b4 b4. dis8 e4 a, b2*1/4 } \\ \relative e' { r4 <e g>2 s2 | r8 } >></score> || Allemand, Courant, Sarabanda, Gigue ''Only the Allemande and Sarabande carry the inscription: "J.A. Reinke", but there can be no doubt that the entire suite is by Reincken, especially since the Courante is a variation of the Allemande.'' || <ref name="ap"></ref>
|}

== Links ==
'''Facsimile of J. S. Bach's copy of ''An Wasserflüssen Babylon'' by Reincken:''' [https://haab-digital.klassik-stiftung.de/viewer/image/813184231/2/LOG_0000/], accessed 29 July, 2023.

== References ==
[[Willi Apel|Apel, Willi]] (editor), ''Adam Reincken: Collected Keyboard Works.'' CEKM vol. 16, 1978.

[[Klaus Beckmann|Becklann, Klaus]] (editor), ''Joh. Adam Reincken: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1974.

[[Klaus Beckmann|Becklann, Klaus]] (editor), ''Johann Adam Reincken: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 11. Schott,

[[Ulf Grapenthin|Grapenthin, Ulf]], ''Reincken [Reinken, Reinkinck, Reincke, Reinicke, Reinike], Johann Adam [Jan Adams, Jean Adam].'' [https://doi-org.ezproxy.oberlin.edu/10.1093/gmo/9781561592630.article.23126 Grove Music Online], accessed 11 August, 2023.

Jan Adams Reincken

2024-06-17T14:07:51Z

WillsSchoolAccount: WillsSchoolAccount moved page Jan Adams Reincken to Johann Adam Reincken: Change to more usual spelling nowadays

#REDIRECT [[Johann Adam Reincken]]

Johann Adam Reincken

2024-06-17T14:07:51Z

WillsSchoolAccount: WillsSchoolAccount moved page Jan Adams Reincken to Johann Adam Reincken: Change to more usual spelling nowadays

[[File:"The Musical Party" by Johannes Voorhout.png|thumb|"The Musical Party" by Johannes Voorhout. Reincken is playing the harpsichord.]]
'''Jan Adams Reincken''' (?-1722) (also known as Jan Adam or Johann Adam) was a German organist and composer.

== Life ==
The year of Reincken's birth is not known. It has been theorized to be 1623 or 1628, but, if true, this would mean that several events in his life were unusually late, such as the beginning of his musical study. There is evidence of someone named "Jan Reinse" being baptized in Deventer on 10 December 1643. "This date, too, is problematic, but it is at least consistent with the baptismal records of Adam Reincken's other children in 1639, 1640 and 1641,"<ref>Grapenthin</ref>. He died in Hamburg in 1722.

== Works ==
=== Lost manuscripts ===
The Fugue in G Minor and Toccata in G Minor do not appear in any remaining manuscripts.

==== Fugue in G Minor<ref name="beckmannbreit">Beckmann, Breitkopf</ref> ====
The Fugue in G Minor is known to have been located in [[D-DS Ms. Nr. 4061]]. This manuscript has been lost (it contained another fugue by Reincken as well), and only an incipit from a catalogue listing of it remains. However, one of the pieces had already been published by in ''Historischen Klavierkonzerten'' vol. 3 by Buchmayer.

====Toccata in G Minor<ref name="beckmannmdno">Beckmann, MdNO</ref>====
The Toccata in G Minor was published in ''Le parfait organiste'' by [[François Joseph Fétis]] in 1830. The manuscript that this piece is from is not known (the source of the manuscript is recorded as "dans les bibliotheques de plusieurs mateurs, en Allemagne"), as well as its fate, wether it has been destroyed or lost. Apparently this publication was almost entirely forgotten, as this piece was not included in any edition of the known keyboard works of Reincken, and this piece was revealed to [[Klaus Beckmann]] by [[Ewald Kooiman]].

=== List ===
{| class="wikitable"
|+ Keyboard works by Jan Adams Reincken
|-
! Source(s) !! Title !! Incipit !! Notes !! Ref.
|-
!colspan="5"|Chorale Fantasias
|-
| [[D-B Mus.ms. Bach P 802]] p.38-56 [[NL-At 205-C-16.]] Faszikel 2 || Was kan uns kommen an für noth. á 2 Clav: et Pedal. J. Adam Reincke || <score><< \relative d' { r8 \clef treble d e fis g a b c | d2 } \\ \relative d { r4 r8 d e fis g a | b c d4 } \\ \relative g, { \clef bass g1 } >></score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB000159C400000000 digital.staatsbibliothek-berlin.de]</ref> <ref name="ap">Apel, Willi</ref><ref name="beckmannmdno">Beckmann, MdNO</ref>
|-
| [[D-Bhm Altnickol: Mus.ms. H 9364]]p.1-19 [[D-Bhm Spitta: Mus.ms. 6639/1484]]p.1-23 [[D-LÜh Mus. U 85]] p.1-16 [[NL-At 205-C-16.]] Faszikel 1 || An Waßer flüßen Babylon. Sampt 2. Clavier et pedal. Joh. Adam Reincke || <score><< \relative c'' { \key f \major r2 c4~c16 bes a g | f4 f' e8 f16 e d8 e16 d } \\ \relative c' { c1 d2 c } >></score> || || <ref name="beckmannmdno"></ref>
|-
!colspan="5"|Toccatas
|-
| [[Andreas-Bach Book]] f.45-48 || Toccata || <score><< \relative d'' { \key g \major r16 d e fis g32 fis g fis g fis e fis g16 } \\ <g d' g'>1*1/2\laissezVibrer >></score> || || <ref name="ap"></ref>
|-
| || "Toccate" || <score>\relative g' { <g d bes>1 <bes g d> }</score> || Original source lost. Based on edition by Fétis. || <ref name="beckmannmdno"></ref>
|-
!colspan="5"|Fugues
|-
| [[D-DS Ms. Nr. 4061]] || Fuga || <score>\relative g' { \key f \major g4 r16 a bes c d a bes c d a bes c | bes8 g }</score> || This source is lost. Based on earlier editions || <ref name="beckmannbreit">Beckmann, Breitkopf</ref>
|-
!colspan="5"|Partitas
|-
| [[Andreas-Bach Book]] || Partite diverse spora l'Aria: Schweiget mir von Weiber nahmem, altrimente chamata La Meyerin || <score><< \relative b' { \key g \major \clef alto b4. d8 a4 b | g4*1/2 } \\ \relative g { g4. g8~g8 fis g d | e4.*1/3 } \\ \relative fis' { s2 s4 r8 fis | r8 } \\ \relative d' { r8 d e b c d8~ d4 | r8 } >></score> || 18 partitas || <ref name="ap"></ref>
|-
| [[Andreas-Bach Book]] || Ballet ex E.g. || <score>\relative b' { \key g \major b8. e,16 b'8. 16 b4.~ b16 b | e8. }</score> || Theme, 10 variations || <ref name="ap"></ref>
|-
!colspan="5"|Suites"
|-
| [[Möller Manuscript]] f.15v-17r || Suite ex G{{Natural}} || <score>\relative d' { \set tieWaitForNote = ##t \key g \major \partial 4 r16 d e fis | g4~ g16 b,~ d~ g~ <g~ d b>4 g16 g fis e }</score> || Alamande, Courande, Sarabance, Gugue || <ref name="ap"></ref><ref name="mol">[http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000000 digital.staatsbibliothek-berlin.de], accessed 17 August, 2023.</ref>
|-
| [[Möller Manuscript]] f.29r-31r || Suitte ex C{{Natural}} di Joh. Ad. Reincke || <score>\relative c'' { \partial 4 r16 c b a g f e d c4 }</score> || Allemand, Courante, Sarabande, Gigue || <ref name="ap"></ref><ref name="mol"></ref>
|-
| [[S-Uu Ms. Ihre 285]] || Suite in E minor || <score><< \relative b' { \key g \major \partial 4 b4 b4. dis8 e4 a, b2*1/4 } \\ \relative e' { r4 <e g>2 s2 | r8 } >></score> || Allemand, Courant, Sarabanda, Gigue ''Only the Allemande and Sarabande carry the inscription: "J.A. Reinke", but there can be no doubt that the entire suite is by Reincken, especially since the Courante is a variation of the Allemande.'' || <ref name="ap"></ref>
|}

== Links ==
'''Facsimile of J. S. Bach's copy of ''An Wasserflüssen Babylon'' by Reincken:''' [https://haab-digital.klassik-stiftung.de/viewer/image/813184231/2/LOG_0000/], accessed 29 July, 2023.

== References ==
[[Willi Apel|Apel, Willi]] (editor), ''Adam Reincken: Collected Keyboard Works.'' CEKM vol. 16, 1978.

[[Klaus Beckmann|Becklann, Klaus]] (editor), ''Joh. Adam Reincken: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1974.

[[Klaus Beckmann|Becklann, Klaus]] (editor), ''Johann Adam Reincken: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 11. Schott,

[[Ulf Grapenthin|Grapenthin, Ulf]], ''Reincken [Reinken, Reinkinck, Reincke, Reinicke, Reinike], Johann Adam [Jan Adams, Jean Adam].'' [https://doi-org.ezproxy.oberlin.edu/10.1093/gmo/9781561592630.article.23126 Grove Music Online], accessed 11 August, 2023.

D-Lr Mus.ant.pract. K.N. 207-17/1

2024-06-17T14:01:44Z

WillsSchoolAccount: /* Contents */ remove caption text

'''D-Lr Mus.ant.pract. K.N. 207-17/1''' is a manuscript held in the ''Rätsbucherei'', Lüneburg. It is part of the [[Lüneburg Tablatures]]

== Description ==
The manuscript is written in [[New German Tablature Notation]].

== Contents ==
{| class="wikitable"
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1, 6-7 || Praeambulum / Ex Clave / E || || This piece appears twice in this manuscript || {{RISM|450101383}} {{RISM|450101386}}
|-
| 2 || Te Deum / Laudamus || || Fragmented || {{RISM|450101384}}
|-
| 4-5 || Herr Gott / dich Loben Wir. || 1 Heilig ist | Vnser gott, | Auff 1 oder | 2 Clavier. Dein göttlich | Macht Vnd | Herligkeitt. Du König | der Ehren | Jesu Christ. Nun hilff | Vnß Herr den | dienern dein. Teglich Herr | Gott dich loben | wir. | Auff 2 Clavier. || At end: ''Finis. / Jacob: Praet: / Anno 1636 / fecit.'' || {{RISM|450101385}}
|-
| 6-11 || 1mus Versus. / Herr gott dich loben / Wir, Herr gott wir / dancken dier / J. K. || 1 Versus 2ds. | Heilig ist | Vnser Gott. 3tius Versus. | Dein Göttlich macht | undt Herrligkeit, geht | Auff 2. Clavier. Quartus Versus | Manualiter | Du König der Ehren | Jesu Christ. Quintus versus | Nun hilff unß Herr | den dienern dein, die | Choral im Pedall. Sextus Versus. | Täglich Herr Gott | dich loben wier | Manualiter. || Verse 3 written in different hand || {{RISM|450101387}}
|-
| 12-13 || S / Du König der / Ehren Jesu Christ. / Auff zwey Clavier. || || || {{RISM|450101388}}
|-
| 14-17 || Herr Gott / dich loben wir. / auff 2. Clav. / Franciscus Tunder. || || || {{RISM|450101389}}
|}

== References ==
{{RISM|450101382}}

[[Category:Lüneburg Tablatures|207-17/1]]

Helmholtz Pitch Notation

2024-06-17T14:00:12Z

WillsSchoolAccount: thumbnail

[[File:Helmholtz pitch notation c.svg|thumb|right|How pitches at different octaves are written. Note that notes below the bass octave are also written ''CC'' instead of ''C,'', etc.]]
'''Helmholtz pitch notation''' is a method of writing pitches using capital- or lower-case letters and prime symbols to represent octaves. A modified version of Helmholtz notation is found in the letter notation of [[Old German Tablature Notation|Old]] and [[New German Tablature Notation]].

== See Also ==
[https://en.wikipedia.org/wiki/Helmholtz_pitch_notation Helmholtz pitch notation on english Wikipedia]

[[Category:Theory]]

Lynar Tablatures

2024-06-04T04:28:53Z

WillsSchoolAccount: /* Contents */ composer/notes

The '''Lynar tablatures''' are a collection of manuscripts that are currently held in the Staatsbibliothek, Berlin. It has been interpreted as one of the most important sources for the works of the North-German pupils of [[Jan Pieterszoon Sweelinck]].

With a few exceptions, the Lynar Tablatures exclusively transmit keyboard music, mostly for organ. The exceptions are one manuscript which appears to contain an [[Intabulation]] of a cantata (see [[#Lynar B 10|B 10]]) and another which appears to be transcribed from a psalm part book ([[#Lynar C|C]]).

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Overtime, many of the other anonymous compositions have been linked to composers based on concordances and stylistic analysis.

The Lynar Tablatures themselves (as well as the pieces within) have been covered in-depth by many musicologists, including [[Lydia Schierning]] in her extensive book on manuscripts of german early keyboard music, and [[Pieter Dirksen]] in various books and publications.

Thankfully, now all of the Lynar Tablatures are available online (except for the elusive '''C''' tablature).

== History<ref>[[Hans Schnieders|Schnieders, Hans]], "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [https://archiv.ub.uni-heidelberg.de/volltextserver/12663/1/Schnieders_2011.pdf], accessed 15 September, 2023. 2.15 Lynar A1</ref> ==
The first Lynar tablatures that were known to musicologists were the '''A 1''' and '''A 2''' manuscripts. These two manuscripts had copies made of them in the middle of the 19th century. Later in the 19th century both manuscripts went missing (In the 1894 edition of keyboard works of Sweelinck, [[Max Seiffert]] could only rely on the 1841 copy). However, the "A" manuscripts were fortunately found in 1920, and around this time the 11 manuscripts in tablature notation were discovered by [[Rochus Friedrich zu Lynar]]. All 13 manuscripts were collected and stored in the Spreewald museum in Lübbenau-Lehde. In 1933<ref>[[Max Seiffert|Seiffert, Max]] (editor), ''Sweelinck: Werken voor Orgel en Clavecimbel.'' Amsterdam: G. Alsbach & Co., 1942. xlvi</ref> [[Max Seiffert]] inspected the manuscripts and assigned the shelfmarks starting with A (referring to staff notation) and B (tablature notation). The description penciled on the front of each manuscript is written by Seiffert.

<blockquote>The Lynar B collection of tablatures was discovered more recently. They were found during the reorganization of the castle papers for removal to a newly founded city museum in the 1920s. According to [[Hans Joachim Moser]], the first musicologist to see them, they consisted of nothing but a ''large, disordered pile of paper–partly gathered in bundles, partly consisting of loose sheets and notated in organ tablature.''<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. V</ref></blockquote>

In 1956, the manuscripts were moved to the ''Staadtsbibliothek'', Berlin, retaining their previous shelfmarks.

== Description ==
According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized '''Ms. Lynar A 1''', '''Ms. Lynar B 2''', etc.

The "A" tablatures are in various types of staff notation, and the "B" (and "C") tablatures are in [[New German Tablature Notation]].

== Analysis ==
=== Lynar A Tablatures ===
<blockquote>...the Lynar A manuscripts must be particularly close to Sweelinck's autographs, if not actually copied directly from them–which seems not only to hold for the large collection of Sweelinck pieces themselves (in Lynar A 1) but for much of the remaining content as well, including the large virginalist section in LyA2.<ref>DirksenScheidemann, 144-145.</ref></blockquote>

=== Lynar B Tablatures ===

==== [[Pieter Dirksen]]<ref name="dirksen">DirksenScheidemann, 9-10.</ref> ====
<blockquote>The Lynar B tablatures as a whole must now be seen as a closely connected series of sources which probably actually originated within the North German Sweelinck school, going back directly to one of the North German Sweelinck pupils.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII</ref></blockquote>

The Lynar B tablatures have proven valuable as a source of works from the North-German Sweelinck school as well as from Sweelinck himself, as thirteen works (including 10 not known from any other source) by him are found within.

Dirksen interprets the 11 "B" tablatures as forming a unified whole because (among other reasons) it can be identified that some of the unknown copyists wrote more than one manuscript each.

As for the originating location of the manuscripts, the area of Gdańsk (german: Danzig) was theorized based on the inclusion of pieces by [[Paul Siefert]] and [[Andreas Neunhaber]]. Similarly based on circumstantial evidence, the manuscripts can be dated to around the 1620s (even though some pieces within can be dated to later). One date found within the manuscript, 1628, also suggests this.

Dirksen notes that the works by Sweelinck must have been transcribed from Anglo-Dutch staff notation to [[New German Tablature Notation]].

== References ==
[[Pieter Dirksen|Dirksen, Pieter]]. ''The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence.'' Muziekhistorische Monografieen, vol. 15. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997. ("DirksenSweelinck")

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. ("DirksenScheidemann")

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

<references />

== Contents ==
=== Lynar A 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar A 1 | Jugendautograph des Hamburger | Organisten Matthias Weckmann | (1620-1674), begonnen 1637 in Ham- | burg. Niederländische Tabulatur auf | 2 x 6 Linien. | Inhalt Kompositionen von | Jan Pieters Sweelinck, Christian | Erbach, Gio. Gabrieli, Peter Philipps, | John Bull, Gilles Farnaby, L. Wood- | sen, La Barre, Gautier, Ballard, | M. Weckmann, Pieter Cornet.'' Ms. Lynar A 1: Young autograph by the Hamburg organist [[Matthias Weckmann]] (1620-1674), begun in 1637 in Hamburg. Dutch tablature on 2x6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000031.jpg|thumb|Toccata by Sweelinck in Lynar A 1]]
'''Ms. Lynar A 1''' is a manuscript in Dutch 6-line staff notation. It contains 81 keyboard pieces. It is one of the first manuscripts to be known to early musicologists and has been called "the primary source for the keyboard music of [[Jan Pieterszoon Sweelinck]]"<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm variations from Lynar B 7.'' Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. Page V.</ref>.

Despite going missing in the late 19th century, this manuscript has since been rediscovered.

Actually, the scribe of the manuscript is not [[Matthias Weckmann]] (like [[Max Seiffert]] said)<ref>Schierning, 78</ref><ref>DirksenSweelinck, 21</ref>.

==== Description ====
[[Max Seiffert]] said that the scribe of the manuscript was [[Matthias Weckmann]] while he was a student of [[Jakob Praetorius]].<ref>Schierning, 78</ref> One possible reason for this is that the manuscript was located in the Hamburg ''Universitätsbibliothek'' when it was inspected by him.<ref>Schierning, 78. ''Dieses Manuskript war bis zu seiner Vernichtung im letzten Krieg im Besitz der Hamburger Universitätsbibliothek...''</ref>

However, when comparing this manuscript with the [[Visby Tablature]], which was written in similar circumstances (by [[Berendt Petri]] while studying with [[Jakob Praetorius]]), the difference in repertoire can be seen. Actually, based on the use of the organ in North-Germany, Jakob Praetorius and his students would only have use for verses and variations on chorales, hymns, magnificats, motet intabulations and short preludiums.<ref>Schierning, 79</ref>. It seems unlikely that J. Praetorius would have changed his teaching (including choice of pieces) and at the same time it would not be usable for his student from Hamburg.<ref>Schierning, 79</ref> For this reason, a North-German origin of this manuscript (under the teaching of Jakob Praetorius) is doubtful.<ref>Schierning, 79. ''Diese Fragen werden kaum zu bejahen sein, somit ist eine norddeutsche Herkunft der Handschrift stark zu bezweifeln''</ref>

On the question of proximity to Autographs by Sweelinck, Pieter Dirksen says that the manuscript must have had an origin close to Sweelinck and his school, not only based on the selection of pieces included but also their high copying quality.

<blockquote>The Sweelinck pieces are copied with hardly any mistakes at all, and anyone who has worked with manuscript sources knows how rare such a state of affairs is.<ref>DirksenSweelinck 21.</ref></blockquote>

In addition, ''The scribe apparently had access to an exclusive strain of the Sweelinck transmission'',<ref>DirksenSweelinck 22.</ref> as many high-quality pieces (including ''Mein junges Leben hat ein End'') are included which would surely be copied by other scribes if they had access to them. Also, the staff notation layout (two staves with six lines each) and other aspects of the notation (including the ''musicality of the two hands over the two staves'') suggest a direct connection to Sweelinck autographs.<ref>DirksenSweelinck 22.</ref>

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 1<ref>DirksenSweelinck 656-658.</ref>
|-
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==== References ====
{{RISM|1001079614}}

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

=== Lynar A 2 ===
----
<blockquote>'''Seiffert:''' ''Italienisch-niederländische Tabulatur eines | süddeutschen Schreibers um 1610; 2 Systeme | 6 + 7 und 6 + 6 Linien. | Enthält Kompositionen von | Christian Erbach und der Engländer Will. | Byrd, Dr. Bull, Orlando Gibbons, | sowie einige von Gio. Gabrieli und Tarq. | Merula.'' Italian-Dutch tablature from south-German scribes from 1610; 2 systems, 6+7 and 6+6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0002915200000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671394380 00000020.jpg|thumb|A Canzona by [[Christian Erbach]] in Lynar A 2]]
'''Ms. Lynar A 2''' contains 42 [[Tasteninstrument]] pieces written in staff notation by [[Christian Erbach]], [[Giovanni Gabrieli]], [[Tarquinio Merula]], [[William Byrd]], [[John Bull]], and [[Orlando Gibbons]]. Unlike Lynar A 1, this manuscript doesn't contain any works by Sweelinck.<ref>DirksenSweelinck 21.</ref>

==== Description ====
The manuscript is written by multiple hands in "Italian-Dutch" staff notation. Some pieces are written on two 6-line staves, and some are written on one 6- and one 7-line staff. Each page is 35x24.5cm in size.

In the early 20th century, the first and last pages of the manuscript (probably not written on) were concealed by binding paper for preservation purposes.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
|-
| 35-36 || Canzon || || ||
|-
| 37-38 || Pavan / sz: ae: mpetze / William Bÿrde / Angloss || || ||
|-
| 39-40 || Galiardo / William Bÿrde || || ||
|-
| 41-42 || Galliardo / Orlando Gibbons || || ||
|-
| 43-44 || Pavana. / The Earle / of Salisburÿ / William birde || || ||
|-
| 43-44 || Preludium / Doctor Bull || || ||
|-
| 43-44 || Galliardo || || ||
|-
| 43-44 || Galiardo Secundo / Miss Matye Brosonlo / William Birde || || ||
|-
| 45-46 || Preludium / Orlando Gibbons || || ||
|-
| 47-48 || Galliardo / Orlando Gibbons || || ||
|-
| 49-50 || Galliardo / Orlado Gibbons || || End: ''Finis Coronat / O Puc'' ||
|-
| 51-52 || Galliardo / orlando gibbons || || ||
|-
| 53-58 || ''[no title]'' || || 13 variations ||
|-
| 58 || ''[no title]'' || || ||
|-
| 59-62 || A. Voluntarge / M. Bird || || ||
|-
| 63-66 || Tantasia / M. Bird || || ||
|}

==== References ====
{{RISM|1001079620}}

Schierning, 81-84.

<references />

===Lynar B 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 1 | Deutsche Orgeltabulatur vom 1. Drittel | des 17. Jhdt. | Enthält Kompositionen von | J. P. Sweelinck, Paul Siefert, | Andr. Düben, Jak.Prätorius, Peter | Hasse, Gottfr. Scheidt, Samuel Scheidt | W. Karges, D. H. und M. D.'' 
Ms. Lynar B 1; German tablature from the first 3rd of the 17th century. Contains compositions frome [[Jan Pieterszoon Sweelinck]], [[Paul Siefert]], [[Andreas Düben]], [[Jacob Praetorius]], [[Peter Hasse]], [[Gottfried Scheidt]], [[Samuel Scheidt]], [[Wilhelm Karges]], D. H. and M. D.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 1|url=http://resolver.staatsbibliothek-berlin.de/SBB000253A600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 1''' contains 71 pages. Among other things, it contains a compilation of settings of ''Allein Gott in der Höh sey Ehr'' by different composers.
{| class="wikitable mw-collapsible"
|+Works in D-B Mus. Ms. Lynar B 1
!No.
!Title
!notes
|-
|1
|Fantasia Auff die manier von ein Echo. M. J. P. S.
|[[Jan Pieterszoon Sweelinck]]
|-
|2
|Puer natusin Bethlehem a Paulus Sivert
|[[Paul Siefert]]
|-
|3
|Nun komm der Heÿden Heÿlandt
|Paul Siefert?
|-
|4
|Nun Lobe meine Seele den Herren Auff 2 Clavir D. H.
|Düben?
|-
|5
|Wo Gott der Herr nicht beÿ unß Held auff 2 Clavir Andræ Duben
|[[Andreas Düben]]
|-
|6
|Allein Gott inn der Höh seÿ Ehr. M. J. P.
|Jan Pieterszoon Sweelinck
|-
|7
|Variatio Bicinium M. J. P.
|Jan Pieterszoon Sweelinck
|-
|8
|Variatio coral in Tenor M. J. P.
|Jan Pieterszoon Sweelinck
|-
|9
|Variatio coral in cantu 4 Vocum M. J. P.
|Jan Pieterszoon Sweelinck
|-
|10
|Variatio Choral in Cantu auff 2 Clavier A. Duben
|Andreas Düben
|-
|11
|Variatio choral in Basso A. D.
|Andreas Düben
|-
|12
|Variatio Choral in Bass M. Duben
|[[Martin Düben]]
|-
|13
|Variatio Choral in Baß 3 vocum
|
|-
|14
|Varatio
|
|-
|15
|Variatio Choral in Tenore 3 vocum P Hassen
|[[Petrus Hasse]]
|-
|16
|Variatio 3 Vocum Choral in Basso P. Hass
|Petrus Hasse
|-
|17
|Var. 12 G. S.
|[[Gottfried Scheidt]]
|-
|18
|Var. Choral in Cantu auff 2 Clav. G. S.
|Gottfried Scheidt
|-
|19
|4 vocum
|
|-
|20
|Variatio Zum Alt vndt Tenor muße nur Stimmen von 4 Fuß gezogen werden
|
|-
|21
|Variatio Choral in Cantu auf 2 Clav.
|
|-
|22
|Variatio Choral in Tenore
|
|-
|23
|Allein Gott in der Höh seÿ EHR: S. S.
|[[Samuel Scheidt]]
|-
|24
|Allein Gott â 3 Vocum Choral in Bass W. Karges
|[[Wilhelm Karges]]
|-
|25
|Erstanden ist der Heilige Christ M. D. Simpel - Auff 2. Clavir - Choral in Cantu auff 2. Clavier. - Coral in Basso 3. Voc:
|[[Martin Düben]]
|}

==== Analysis ====
===== Allein Gott in der Höh sei Ehr =====
One of the striking features of this manuscript is a cycle of chorale settings of ''Allein Gott in der Höh sei Ehr'' (with continually incrementing variation number), with some attributed to different composers and others left anonymous.

Theories have surrounded the reasoning for these compositions to have been included together. [[Max Seiffert]] said that they could have been composed by Sweelinck and his pupils together as one complete work. However, this was rejected by [[Margarete Reimann]], who said that it was simply compiled by someone else, perhaps the scribe of '''Ms. Lynar B 1'''. However, [[Pieter Dirksen]] states that the true facts may not be so simple. For instance, many of the variations form strong variation cycles themselves, such as the first few variations by Sweelinck. After these, the rest are more reminiscent of contrapuntal excercises, but several of the anonymous variations have stylistic similarities with each other, and it is possible that they were composed by the same person.

It was noted that variation 15 is a transposed copy of variation 7 (this was pointed out by [[Gisela Gerdes]].

==== References ====
[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Orgelmusik av familjen Düben''. Stockholm: Runa Nototext, 1996. xxi-xxii.

{{NdS2 2009}}

{{RISM|1001048774}}

Schierning, 32-34

<references />

===Lynar B 2===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 2 | Deutsche Orgeltabulatur ca. 1630 | Darin genannt Melchior Schildt | und J. P. Sweelinck, sonst alles anonyme Stücke'' 
Ms. Lynar B 2; German organ tablature from around 1630. Within it are pieces by [[Melchior Schildt]] and [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0000673100000000|urlc=digital.staatsbibliothek-berlin.de|date=28 April, 2024}}
----

====Description====
'''Lynar B 2''' is a folio volume over 30 pages.

It doesn't contain any clues as to its origin, copyist, or date. Some theories include that it was compiled in North Germany around 1620-1630 or by [[Melchior Schildt]] while he was in Copenhagen around 1626-1629. However, different hands can be identified as having copied different pieces in the manuscript, so it may have been compiled over a longer period of time.

The tablature contains only fantasias and chorale/psalm settings. Of the 17 pieces contained within, two are headed by initials which give a hint to the composer. Of the rest, three more can be identified based on concordances with other manuscripts. The composers of these five works are [[Jan Pieterszoon Sweelinck]], [[Melchior Schildt]] and [[Heinrich Scheidemann]]. The rest of these pieces remain anonymous, but can be attributed to various composers on stylistic grounds.

==== Contents ====
{| class="wikitable mw-collapsible"
|+Works in D-B Ms. Lynar B 2
!Fol.
!Title
!Incipit
!Composer/Notes
!Ref.
|-
|1r
|[Fanta]sia [mit B]indungen
|<score><< \relative c'' { \time 4/2 c1. c2 d2. e4 } \\ \relative f { f1 a2 f bes g } \\ \relative a' { a1 a2 a bes2 bes } \\ \relative f' { f1 e2 f~ f g } >></score>
|Jan Pieterszoon Sweelinck
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|1v-3r
|Fantasia A 4
|<score>\relative c'' { \time 4/2 c2. bes4 a2 g f4 g a bes }</score>
|[[Jan Pieterszoon Sweelinck]]
|<ref name="dirkb2"></ref>
|-
|3v-6r
|fantasia primi Toni A 4
|<score><< \relative g' { \time 4/2 g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >></score>
|Actually ''Nun komm der Heiden Heiland''
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|6v-8r
|ach Gott / vom him: / mel sieh / darein.
|<score><< \relative a' { \time 4/2 \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >></score>
|[[Heinrich Scheidemann]]?
|<ref name="dirkb2"></ref>
|-
|7v-10r
|Herr Christ der / Einig Gottes Sohn a.4 / mit dem pedahll / auch 2 Clauier / M.S
|<score>\relative bes { \clef alto \time 4/2 bes1 bes2 d c bes a2. }</score>
|[[Melchior Schildt]]
|
|-
|10v-12r
|Wie schön / leucht unß / der Morgenstern / A.4.
|1 variation <score><< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >></score> 2 variatio <score>\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }</score> 3 variatio <score><< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >></score> 4 variatio <score><< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >></score> 5 variatio <score><< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >></score>
|
|<ref name="dirkb2"></ref>
|-
|12v-15r
|Nun freut euch / lieben Christen / gmein / Cohrall im / Tenor
|1 variatio <score><< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >></score> 2 variatio <score><< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>></score> 3 variatio <score>\relative bes { \clef alto \key f \major bes1 bes2 d c bes }</score> 4 variatio <score><< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >></score> 5 variatio <score><< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >></score>
|
|<ref name="dirkb2"></ref>
|-
|15v-17r
|psalm 116 / J. P.
|<score><< \relative d'' { \time 4/2 r1 d1 } \\ \relative d' { d2 b4 c d8 c b a g4 g'\laissezVibrer } >></score>
|Jan Pieterszoon Sweelinck
|
|-
|16v-17r
|O Lux Beata / Trinitas:
| <score><< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>></score>
|
|<ref name="dirkb2"></ref>
|-
|17v-18r
|psalm 60 / A 2
| <score><< \relative c'' { \time 4/2 r1 c1*1/2 } \\ \relative c' { c2 f4 f e8 d c b a8 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|
|-
|18v-19r
|O Gott du / unser Vater / bist / auff 2 Clauiren
|1 variatio <score><< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >></score> 2 variatio <score><<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>></score> 3 variatio <score><< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|19v-21r
|P 23 Mein hütter Undt mein hirtt
|<score><< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|20v-23r
|die 10 Gebott Gottes
|1 variatio <score><< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >></score> 2 variatio <score><< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >></score> 3 variatio <score><< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> } >></score> 4 variatio <score><< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >></score>
|Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|23v-25r
|Es spricht den / unweisen Mundt / woll
|<score><< \relative c'' { \time 4/2 c1 c2. b8 a } \\ \relative f { r1 r4 f a g8 f } \\ \relative e' { r4 e c d8 e f2 c4 d } >></score>
|Heinrich Scheidemann
|
|-
|24v-25r
|Fuga Cromatico / ex D.la.sol.re.
|<score>\relative d' { \clef alto \time 4/2 d1 d2 d cis c a c }</score>
|
|
|-
|25v-27v
|Fantasia / A. 2: 3: et 4 / Vocum
|<score><< \relative a' { \time 4/2 \clef alto R\breve r1 a1 } \\ \relative a { a1 e' c2 cis d f } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|
|-
|27v-28v
|Fantasia / Super ut re mi / fa.sol.la. / A. 3. Vocum / pedaliter
|<score><<\relative c' { \clef bass \time 4/2 c4. b8 a4 g fis g a fis g4 } \\ \relative c { c1 d e1*1/4 } >></score>
|
|
|}

==== Analysis ====
After the publishing of 8 more works in Lynar B 2 by [[Pieter Dirksen]] in 1991, two works remain unpublished. The ''Fuga Cromatico'' and ''Fantasia Super ut re mi fa.sol.la.'' were described as "a brief composition employing imitation and simple chromatic lines" and "a pedantic, three-part hexachordal settings, in which the sogetto appears in the bass thirteen times in exactly the same form, constantly alternating between entries on c and G" respectively.

The setting of ''O God die onse Vader bist'' can for now be securely attributed to Sweelinck on the basis of the cantus firmus being a Dutch psalm in addition to stylistic features. Similarly, the setting of Psalm 23 can also be attributed to him, especially based on the similarities to Sweelinck's composition on Psalm 116 (which can be found in other manuscripts).

Confusingly, the manuscript contains a piece titled "fantasia primi / Toni A 4" which is neither a fantasia nor in the first tone. In fact, it is a chorale setting of ''Nun komm, der Heiden Heiland.''

<score><< \relative g' { \clef "treble_8" g1 g f bes a g a g2 r4 g bes2 g a4 g f e d e f g a bes c a bes c d2~ d4 cis8 b cis2_"etc." } \\ \relative g { s1*7 g1 g f bes a g a } \\ \\ \relative g { r2 g bes c d4 c bes a g a bes c d e f d e f g2~4 fis8 e fis2 g d d4 c d e f g a g f e d e f g a f g a g f e2 a } >></score>

It is possible that this heading was written by a different copyist before this work was written at a later date. In any case, this work only uses the first (identical with the last) line of the chorale (which means that this work could be classified as a ''choral ricercare'' or ''choral fugue''), and the contrapuntal writing is strikingly plain and schematic. In fact, this piece has been described as containing a "peculiar monothematic compositional technique, which is probably unparalleled in the surviving corpus of seventeenth century choral settings."

According to [[Pieter Dirksen]], the chorale fantasia ''Ach Gott, vom Himmel sieh' darein'' stands apart from the other works in Lynar B 2, as it transmits a chorale fantasia in the fully mature form. An attribution to [[Heinrich Scheidemann]] is possible. He is the only composer who is known to have composed chorale fantasias before 1650 (actually, this piece was not copied at a later point than the rest of the manuscript, because the same hand can be identified in Lynar B 6 and 7, and the first scribe of the manuscript writes some of the piece). However, this attribution is not secured. Some features which appear in almost all chorale fantasias by Scheidemann such as ''the simpler 'echo' techniques like monodic right-hand echoes, antiphonal echoes or 'trio echoes''', are not found in this work. Also, as shown by [[Michael Belotti]], the practice of showing the Rückpositiv voice in the top line of the manuscript even when it is in the tenor is not found in Scheidemann's music, but it does appear in the Magnificat I. toni by Schildt in the second volume of the [[Zellerfeld Organ Tablatures]]<ref>DirksenScheidemann 114-115.</ref> (This also occurs in the two chorale fantasias by [[Hieronymus Praetorius]] in [[D-W Cod. Guelf. 8 Noviss. 2/o]]<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Hieronymus Praetorius: Sämtliche Orgelwerke.'' Teil 1. Mainz: Schott, 2002.</ref>).

The setting of ''O Lux beata Trinitas'' appears to be a result of the early Sweelinck school based on some sixteenth-note figurations that can be found within it. However, it can not be found to be similar to any single composer on stylistic grounds. The ''cantus firmus'' appears in the tenor voice completely un-ornamented in long notes. This arrangement suggests that it can be played in pedal, but the voice rises up to f' which would require a 4-foot stop to be used on an organ with a 27-note pedalboard.

==== References ====
{{NdS2 2009}}

[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

Schierning, 32-34

{{RISM|466000013}}

<references />

=== Lynar B 3 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 3 | Deutsche Orgeltabulatur ca. 1630 | Genannt sind darin: H. Scheide- | mann, J. P. Sweelinck, David Abel, | Andr. Düben, M. D., Peter Hasse, | M. W. C. B. M.'' 
Ms. Lynar B 3. German organ tablature from around 1630. Contains: [[Heinrich Scheidemann]], [[Jan Pieterszoon Sweelinck]], [[David Abel]], [[Andreas Düben]], M. D., [[Peter Hasse]], [[M. W. C. B. M.]]</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 3|url=http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023|imslp=554336}}
----

The numbers are penciled in by a librarian (on the bottom right).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1r || [missing] || || Title is on missing verso side ||
|-
| 1r || Praeludium || || Piece continues on missing verso side. ||
|-
| 1v-2r || Praludium || || ||
|-
| 2v-3r || Praludium || || ||
|-
| 3v-4r || Praludium || || ||
|-
| 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || || ||
|-
| 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] 2 Variation 3 || ||
|-
| 6v-9r || Fantasia / J. P. || || ||
|-
| 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 10v-11r || Praludium / pedaliter || || ||
|-
| 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 12v-12ar || Praludium || || ||
|-
| 12av-13v || Praludium || || ||
|-
| 13v-14r || Praludium || || ||
|-
| 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 15v-18r || Fantasia || || ||
|-
| 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] ||
|-
| 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 25v-26r || Fuga || || ||
|-
| 26v-27r || Ricercar / primi Toni || || ||
|-
| 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 32v-33r || Praambulum / pedaliter || || ||
|-
| 33v-34r || Praambulum / pedaliter || || ||
|-
| 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 36v-37r || Praludium / Pedaliter || || ||
|-
| 37v-38r || Praludium / M. D. O || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 39v- || Praludium / pedaliter || || Fragment ||
|}

==== References ====
{{RISM|466000011}}

<references />

=== Lynar B 4 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 4 | Deutsche Orgeltabulatur ca. 1630. | Genannt nur J. P. Sweelinck, | sonst anonyme Stücke. '' 
Ms. Lynar B 4. German organ tablature from around 1630. Containing pieces by only [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 4|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438100000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

The page numbers (instead of folios) have been penciled in by a librarian.

==== Contents ====

This manuscript contains four pieces:

{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 4
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1-3 || In dich hab / ich gehoffet / Herr / auf 2 Clavier / Manualiter || <score><< \relative d' { \clef alto \time 4/2 d1 d2 a' e g } \\ \relative d { r2 d2. e4 f g a8 b c d e2.*2/3 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 4-9 || Jesus Christus / unser Heylandt / auf 2 Clavier / pedaliter || <score><< \relative a { \clef alto \time 4/2 a1 d d2 cis d a4. b8 c2 c } \\ \relative d { R\breve r1 r2 d a'1 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 10-11 || Fantasia / M. J. P. || <score><< \relative d' { R\breve R\breve r2 d } \\ \relative d' { \clef alto \time 4/2 d1 d2 d c bes a1 g2. a4 } >></score> || [[Jan Pieterszoon Sweelinck]] ||
|-
| 14-17 || Fantasia / A 3 Vocum / Transpon: per 4 toni || <score>\relative b' { \time 4/2 b1 b2 b a c b4 a g fis }</score> || ||
|}

Only one piece contains an attribution, the initials M. J. P. (=[[Jan Pieterszoon Sweelinck]]). However, all four pieces can be accounted for based on concordances found elsewhere. The first piece appears in [[D-Lr Mus.ant.pract. K.N. 208/1]] titled ''In dich hab ich gehoffet H.S.M.'', linking the piece to [[Heinrich Scheidemann]] (WV 8<ref name="dirksen">DirksenScheidemann, xviii.</ref>). The second piece is also composed by Scheidemann based on concordances in [[Zellerfeld Organ Tablatures]] vol.1 and the [[Pelplin Tablatures]] (WV 10).<ref name="dirksen"></ref> The fourth piece is a transposed parody of the [[Samuel Scheidt]] ''Tabulatura Nova'', vol. 2 no.6 (the composer of the parody is unknown).

==== References ====
{{RISM|1001048776}}

Schierning, 31.

<references />

=== Lynar B 5 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 5 | Deutsche Orgeltabulatur ca. 1630 | Darin 1 Choralbearbeitung von | Jakob Praetorius (unvollständig)'' 
Ms. Lynar B 5. German organ tablature from around 1630. Contains one choral work from [[Jacob Praetorius]] (incomplete).</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 5|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438200000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:PPN1032686251 00000006.jpg|thumb|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]
This manuscript contains one piece, a fragment of a [[Chorale Fantasia]] ''Durch Adams Fall ist ganz verderbt'' auff 3 clavier by [[Jakob Praetorius]]. The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''<ref>[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.</ref>.

==== References ====
{{RISM|1001048780}}

Schierning, 37-38.

<references />

=== Lynar B 6 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 6 | Deutsche Orgeltabulatur ca. 1630 | Enthält 1 Toccata von Heinrich | Scheidemann'' 
Ms. Lynar B 6. German organ tablature from around 1630. Contains one toccata by [[Heinrich Scheidemann]].</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 6|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438300000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 6''' contains a manualiter Toccata auf 2 clavir (WV 43) by [[Heinrich Scheidemann]] on 10 pages.

An autograph manuscript of this piece has been discovered in [[D-W Cod. Guelf. 8 Noviss. 2/o]]. Besides this, copies are also found in many other manuscripts including the first volume of the [[Zellerfeld Tablatures]], [[D-W Ms. 227]], and various different (corrupted) forms in [[D-Lr Mus.ant.pract. K.N. 208-1]] and [[D-Lr Mus.ant.pract. K.N. 209|209]], and [[D-B Am.B 340]] (the last three manuscripts transmit the piece in a "pedaliter version" and are assigned WV number 43a by Dirksen).

Before the discovery of the Wolfenbuttel manuscript, Breig stated that the copy in '''Ze 1''' is likely the most accurate.

==== References ====
{{RISM|1001048781}}

[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft 3. Wiesbaden: Franz Steiner, 1967. 87-93, 108.

DirksenScheidemann xvii, 3-5.

<references />

=== Lynar B 7 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 7 | Deutsche Orgeltabulatur ca. 1640. | Enthält Psalmen und Choräle, alle anonym'' 
Ms. Lynar B 7. German organ tablature from around 1640. Contains psalms and chorales, all anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 7|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438500000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:Lubbenauer.jpg|right|thumb|The heading to Psalm 100 in Lynar B 7]]
Ms. Lynar B 7 consists of single- and multi-verse settings of various Genevan psalms and the chorale ''Erhalt uns, Herr, bei deinem Wort''.

This manuscript was published by [[Pieter Dirksen]] in 1996.

==== Description ====
The header of each piece is stylized by a three-pronged symbol followed by the number of the psalm. Some verses are also marked "3 voci" or "Corall in tenor" for example.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 7
|-
! fol. !! Title !! Incipit !! Notes
|-
| {{TT|1r-2r}} || P 66 || <score>{ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }</score> 2. V. <score>{ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }</score> ||
|-
| {{TT|2v-3r}} || P 5 || <score>{ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }</score> 2 Vari / in Basso <score>{ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }</score> 3 V. / im Tenor <score>{ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }</score> ||
|-
| {{TT|3v-5r}} || P 116 || <score>{ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }</score> 2 Vari: <score>{ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }</score> 3. Vari / Corahll in / Tenor <score>{ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }</score> 4 Variatio / a 4 <score>{ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }</score> ||
|-
| {{TT|5v-7r}} || P 100 || <score>{ \time 4/2 \clef alto << \relative a' { a1 b g2 c2*1/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g2*1/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }</score> [2 V] <score>{ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }</score> 3 variation <score>{ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }</score> [4 V] <score>{ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }</score> || Written in second hand
|-
| {{TT|6v-7r}} || Erhalt uns / Herr beij / deinen wortt || <score>{ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }</score> 2 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }</score> 3 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2*1/2 } \\ \relative ees { ees8 d c b r c b a g2*1/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }</score> || Written in second hand
|-
| {{TT|7v-8r}} || P 24 || <score>{ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }</score> 2 V. / a 3 <score>{ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }</score> ||
|}

==== Analysis ====
Dirksen states that the pieces in this manuscript can be conclusively connected with the Netherlands. While such psalm variations (and the psalm melodies themselves) are ''wholly unknown'' in Germany, they were abundantly found in the Netherlands, always in ''variation'' form (instead of German forms such as the [[Chorale Fantasia]]).

According to Dirksen, the five psalm melodies found in '''Ms. Lynar B 7''' were the most popular melodies from the Genevan Psalter during this time period.

The psalm variations ''are marked by a great unity of style''. On the other hand, the setting of ''Erhalt uns, Herr, bei deinem Wort'' is found to be slightly more sophisticated, and it has more rhythmic and harmonic variety. The compositions share a number of recurring musical patterns with pieces by [[Jan Pieterszoon Sweelinck]], but the pieces are too conservative in character to have been composed by him. They were likely written by another composer who lived around the same time. They were probably brought to the German-speaking lands by a student of Sweelinck who copied them into tablature notation.

==== References ====
{{RISM|1001048782}}

[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996.

<references />

=== Lynar B 8 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 8 | Deutsche Orgeltabulatur ca. 1630. | darin der Siefertschüler Andreas | Neunaber vertreten'' 
Ms. Lynar B 8. German organ tablature from around 1630, containing [[Andreas Neunhaber]], the student of Siefert.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 8|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains two pieces, "Ich ruff zu / dir herr / Jesu Christ / auff 2. clavier" and "Alio modo / auff 2. und 3. / Clavir, und auff der / Pedal zu gebrauch: / Anton Neunhaber." These are thought to be two verses of the same piece by [[Andreas Neunhaber]] (Max Seiffert made the connection from Anton -> Andreas Neunhaber).

==== Description ====
Unlike all of the other Lynar B tablatures, this manuscript splits the octave at 'h' instead of 'c'.

[[Lydia Schierning]] said that Neunhaber was only the composer of the second piece and that it is possible the scribe was planning to create a larger compilation of chorale settings on this chorale tune by different composers.

The second piece is in five voices and has detailed manual change indications written into the tablature.<ref>[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.</ref>

==== Contents ====
<score><<
\new Staff \relative a' { \mark "1" \time 4/2 r2 a f4 e8 f g4 f8 g f8 g f e d c d e f16 e f g f g a f g f g a g a bes g a1 }
\new Staff \with { \clef bass } << \relative f { f1 a2 c a bes a e f4 d2 cis4 } \\ \relative d { d1 d2 e f g d c f,4. g8 a2 } >>
>></score>

<score><<
\new Staff \relative a' { \mark "2" \time 4/2 r1 r1 r1 a f2 g f8 g e f d g d e }
\new Staff \with { \clef bass } << \relative a { r1 r4 a f g f d f g f2 e d2. e4 a2 bes } \\ \relative a { r4 a f g f d d8 c bes4 a f a8 d bes c a4 d d cis d bes bes c d2 g } >>
>></score>

==== References ====
{{RISM|1001048783}}

Schierning, 39.

<references />

=== Lynar B 9 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 9 | Deutsche Orgeltabulatur ca. 1630 | 2 anonyme Praeludien.'' 
Ms. Lynar B 9. German organ tablature from around 1630. Two anonymous preludes.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 9|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438800000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

Both preludes were edited by [[Partitura Organum]] in 2019.

==== Description ====
Both preludes are typical of the north-German präludium.

Some notes are not visible on the edge of the left page.

==== Contents ====
[[File:Lynar b 9.jpg|thumb]]

<score><<
\new Staff << \relative e'' { \mark "Praeludium 1" e1 f2 e d4 e f2 e1 a,2. 4 a2 d~ d d c2 a4 b } \\ \relative a' { a1 a2 a a1 e2 e~ e4 e e2 f4 g a2~ a a a r2 } >>
\new Staff \with { \clef alto } << \relative cis' { cis1 d2 e f4 e d2 cis2 cis~4 4 2 d4 e f2~ f f e1 } \\ \relative a { a1 a2. 4 a1 a r1 r2 a~a a4 b c a c d } >>
\new Staff \with { \clef bass } \relative a, { \time 4/2 a1 d2 cis d1 a2 a'~ a4 a a2 d,2. e4 f d f g a1 }
>></score>

<score><<
\new Staff << \relative c'' { \mark "Praeludium 2" \time 4/2 c1 d4. ees8 d4 c bes2 bes~ bes4 c8 bes a4 g a1 } \\ \relative f' { f1 f f f f4 e8 d c4 d } >>
\new Staff \with { \clef bass } << \relative a { a1 bes2 bes4 c d1 c2. bes4 c2 a4 bes } \\ \relative f { f1 bes, bes4 c d e f1 f } >>
>></score>

==== Scores ====
'''Prelude 1:''' [https://partitura.org/index.php/anonymus-praeludium/ partitura.org], 31 October, 2019. ([https://partitura.org/wp-content/uploads/2019/10/Anonymus-Lynar-B9-Praeludium-1.pdf Score]) Accessed 14 January, 2023.

'''Prelude 2:''' [https://partitura.org/index.php/anonymus-praeludium-2/ partitura.org], 5 November, 2019. ([https://partitura.org/wp-content/uploads/2019/11/Anonymus-Lynar-B9-Praeludium-2.pdf Score]) Accessed 14 January, 2023.

==== References ====
{{RISM|1001048784}}

Schierning, 39.

<references />

=== Lynar B 10 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 10 | Deutsche Orgeltabulatur ca. 1640. | Inhalt 1 anonyme Choralbearbeitung'' 
Ms. Lynar B 10. German organ tablature from around 1640. Contains one anonymous choral work.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 10|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438900000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains one piece, anonymous ''Sei nun wieder zufrieden'' a 3. The composition ends after the first system on the third page, the final symbol is a cut time signature.

The texture of the piece is very odd compared to all the other pieces contained in the Lynar Tablatures.

<score><<
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor g1 a2 bes2 bes c d d r r d d d4. g,8 c2. c4 | bes1 bes2 bes1 a2 bes1 r2 R1. R1. R1. r2 f' ees }
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor R1. g1 a2 bes2 bes c d bes bes bes a2. a4 bes2. c4 d2 c2 c1 bes2 bes c d2. ees4 c2 bes2 bes r2 R1. r2 d c }
\new Staff \with { \clef bass } \relative g { \time 3/2 \key g \minor g1 f2 ees1 c2 bes1 a4 g f2 g d ees f1 g2. a4 bes2 ees,2 f1 bes2 bes' a g g, a bes bes c d2. ees4 f2 | bes1 c2 }
>></score>

Actually, it appears that it is an intabulation of a cantata instead of an original organ piece (Scierning says that it seems to have been written for two sopranos and basso continuo).

The title is from Psalm 116, verse 7.

==== References ====
{{RISM|1001048785}}

Scierning, 106

<references />

=== Lynar C ===
'''Lynar C''' (also called C 1 or B 11{{Citation needed}})contains anonymous polyphonic settings of the 150 genevan psalms (actually only 124 settings, because of the reuse of psalm tunes). It is written on 119 sheets in [[New German Tablature Notation]].

The settings are extremely simple. It appears that this was a psalm-book that used privately by people gathered together, who would sing the psalms, or play them on all different instruments, at social gatherings (or it was a copy of this type of book).

''The current status of '''Ms. Lynar C''' is not clear. It is not found in the [https://stabikat.de] database under the shelfmark "Ms. Lynar C" or "Lynar B 11"<ref>See [https://stabikat.de/Search/Results?lookfor=ms.+lynar*&type=ShelfMark&limit=20], accessed 31 October, 2023.</ref>.''

==== References ====
Schierning, 106-109.

<references />

[[Category:Manuscripts|Lynar]]
[[Category:Tablatures|Lynar]]
[[Category:German manuscripts|Lynar]]

Lynar Tablatures

2024-05-22T17:31:07Z

WillsSchoolAccount: /* Works */

The '''Lynar tablatures''' are a collection of manuscripts that are currently held in the Staatsbibliothek, Berlin. It has been interpreted as one of the most important sources for the works of the North-German pupils of [[Jan Pieterszoon Sweelinck]].

With a few exceptions, the Lynar Tablatures exclusively transmit keyboard music, mostly for organ. The exceptions are one manuscript which appears to contain an [[Intabulation]] of a cantata (see [[#Lynar B 10|B 10]]) and another which appears to be transcribed from a psalm part book ([[#Lynar C|C]]).

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Overtime, many of the other anonymous compositions have been linked to composers based on concordances and stylistic analysis.

The Lynar Tablatures themselves (as well as the pieces within) have been covered in-depth by many musicologists, including [[Lydia Schierning]] in her extensive book on manuscripts of german early keyboard music, and [[Pieter Dirksen]] in various books and publications.

Thankfully, now all of the Lynar Tablatures are available online (except for the elusive '''C''' tablature).

== History<ref>[[Hans Schnieders|Schnieders, Hans]], "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [https://archiv.ub.uni-heidelberg.de/volltextserver/12663/1/Schnieders_2011.pdf], accessed 15 September, 2023. 2.15 Lynar A1</ref> ==
The first Lynar tablatures that were known to musicologists were the '''A 1''' and '''A 2''' manuscripts. These two manuscripts had copies made of them in the middle of the 19th century. Later in the 19th century both manuscripts went missing (In the 1894 edition of keyboard works of Sweelinck, [[Max Seiffert]] could only rely on the 1841 copy). However, the "A" manuscripts were fortunately found in 1920, and around this time the 11 manuscripts in tablature notation were discovered by [[Rochus Friedrich zu Lynar]]. All 13 manuscripts were collected and stored in the Spreewald museum in Lübbenau-Lehde. In 1933<ref>[[Max Seiffert|Seiffert, Max]] (editor), ''Sweelinck: Werken voor Orgel en Clavecimbel.'' Amsterdam: G. Alsbach & Co., 1942. xlvi</ref> [[Max Seiffert]] inspected the manuscripts and assigned the shelfmarks starting with A (referring to staff notation) and B (tablature notation). The description penciled on the front of each manuscript is written by Seiffert.

<blockquote>The Lynar B collection of tablatures was discovered more recently. They were found during the reorganization of the castle papers for removal to a newly founded city museum in the 1920s. According to [[Hans Joachim Moser]], the first musicologist to see them, they consisted of nothing but a ''large, disordered pile of paper–partly gathered in bundles, partly consisting of loose sheets and notated in organ tablature.''<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. V</ref></blockquote>

In 1956, the manuscripts were moved to the ''Staadtsbibliothek'', Berlin, retaining their previous shelfmarks.

== Description ==
According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized '''Ms. Lynar A 1''', '''Ms. Lynar B 2''', etc.

The "A" tablatures are in various types of staff notation, and the "B" (and "C") tablatures are in [[New German Tablature Notation]].

== Analysis ==
=== Lynar A Tablatures ===
<blockquote>...the Lynar A manuscripts must be particularly close to Sweelinck's autographs, if not actually copied directly from them–which seems not only to hold for the large collection of Sweelinck pieces themselves (in Lynar A 1) but for much of the remaining content as well, including the large virginalist section in LyA2.<ref>DirksenScheidemann, 144-145.</ref></blockquote>

=== Lynar B Tablatures ===

==== [[Pieter Dirksen]]<ref name="dirksen">DirksenScheidemann, 9-10.</ref> ====
<blockquote>The Lynar B tablatures as a whole must now be seen as a closely connected series of sources which probably actually originated within the North German Sweelinck school, going back directly to one of the North German Sweelinck pupils.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII</ref></blockquote>

The Lynar B tablatures have proven valuable as a source of works from the North-German Sweelinck school as well as from Sweelinck himself, as thirteen works (including 10 not known from any other source) by him are found within.

Dirksen interprets the 11 "B" tablatures as forming a unified whole because (among other reasons) it can be identified that some of the unknown copyists wrote more than one manuscript each.

As for the originating location of the manuscripts, the area of Gdańsk (german: Danzig) was theorized based on the inclusion of pieces by [[Paul Siefert]] and [[Andreas Neunhaber]]. Similarly based on circumstantial evidence, the manuscripts can be dated to around the 1620s (even though some pieces within can be dated to later). One date found within the manuscript, 1628, also suggests this.

Dirksen notes that the works by Sweelinck must have been transcribed from Anglo-Dutch staff notation to [[New German Tablature Notation]].

== References ==
[[Pieter Dirksen|Dirksen, Pieter]]. ''The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence.'' Muziekhistorische Monografieen, vol. 15. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997. ("DirksenSweelinck")

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. ("DirksenScheidemann")

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

<references />

== Contents ==
=== Lynar A 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar A 1 | Jugendautograph des Hamburger | Organisten Matthias Weckmann | (1620-1674), begonnen 1637 in Ham- | burg. Niederländische Tabulatur auf | 2 x 6 Linien. | Inhalt Kompositionen von | Jan Pieters Sweelinck, Christian | Erbach, Gio. Gabrieli, Peter Philipps, | John Bull, Gilles Farnaby, L. Wood- | sen, La Barre, Gautier, Ballard, | M. Weckmann, Pieter Cornet.'' Ms. Lynar A 1: Young autograph by the Hamburg organist [[Matthias Weckmann]] (1620-1674), begun in 1637 in Hamburg. Dutch tablature on 2x6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000031.jpg|thumb|Toccata by Sweelinck in Lynar A 1]]
'''Ms. Lynar A 1''' is a manuscript in Dutch 6-line staff notation. It contains 81 keyboard pieces. It is one of the first manuscripts to be known to early musicologists and has been called "the primary source for the keyboard music of [[Jan Pieterszoon Sweelinck]]"<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm variations from Lynar B 7.'' Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. Page V.</ref>.

Despite going missing in the late 19th century, this manuscript has since been rediscovered.

Actually, the scribe of the manuscript is not [[Matthias Weckmann]] (like [[Max Seiffert]] said)<ref>Schierning, 78</ref><ref>DirksenSweelinck, 21</ref>.

==== Description ====
[[Max Seiffert]] said that the scribe of the manuscript was [[Matthias Weckmann]] while he was a student of [[Jakob Praetorius]].<ref>Schierning, 78</ref> One possible reason for this is that the manuscript was located in the Hamburg ''Universitätsbibliothek'' when it was inspected by him.<ref>Schierning, 78. ''Dieses Manuskript war bis zu seiner Vernichtung im letzten Krieg im Besitz der Hamburger Universitätsbibliothek...''</ref>

However, when comparing this manuscript with the [[Visby Tablature]], which was written in similar circumstances (by [[Berendt Petri]] while studying with [[Jakob Praetorius]]), the difference in repertoire can be seen. Actually, based on the use of the organ in North-Germany, Jakob Praetorius and his students would only have use for verses and variations on chorales, hymns, magnificats, motet intabulations and short preludiums.<ref>Schierning, 79</ref>. It seems unlikely that J. Praetorius would have changed his teaching (including choice of pieces) and at the same time it would not be usable for his student from Hamburg.<ref>Schierning, 79</ref> For this reason, a North-German origin of this manuscript (under the teaching of Jakob Praetorius) is doubtful.<ref>Schierning, 79. ''Diese Fragen werden kaum zu bejahen sein, somit ist eine norddeutsche Herkunft der Handschrift stark zu bezweifeln''</ref>

On the question of proximity to Autographs by Sweelinck, Pieter Dirksen says that the manuscript must have had an origin close to Sweelinck and his school, not only based on the selection of pieces included but also their high copying quality.

<blockquote>The Sweelinck pieces are copied with hardly any mistakes at all, and anyone who has worked with manuscript sources knows how rare such a state of affairs is.<ref>DirksenSweelinck 21.</ref></blockquote>

In addition, ''The scribe apparently had access to an exclusive strain of the Sweelinck transmission'',<ref>DirksenSweelinck 22.</ref> as many high-quality pieces (including ''Mein junges Leben hat ein End'') are included which would surely be copied by other scribes if they had access to them. Also, the staff notation layout (two staves with six lines each) and other aspects of the notation (including the ''musicality of the two hands over the two staves'') suggest a direct connection to Sweelinck autographs.<ref>DirksenSweelinck 22.</ref>

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 1<ref>DirksenSweelinck 656-658.</ref>
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
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==== References ====
{{RISM|1001079614}}

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

=== Lynar A 2 ===
----
<blockquote>'''Seiffert:''' ''Italienisch-niederländische Tabulatur eines | süddeutschen Schreibers um 1610; 2 Systeme | 6 + 7 und 6 + 6 Linien. | Enthält Kompositionen von | Christian Erbach und der Engländer Will. | Byrd, Dr. Bull, Orlando Gibbons, | sowie einige von Gio. Gabrieli und Tarq. | Merula.'' Italian-Dutch tablature from south-German scribes from 1610; 2 systems, 6+7 and 6+6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0002915200000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671394380 00000020.jpg|thumb|A Canzona by [[Christian Erbach]] in Lynar A 2]]
'''Ms. Lynar A 2''' contains 42 [[Tasteninstrument]] pieces written in staff notation by [[Christian Erbach]], [[Giovanni Gabrieli]], [[Tarquinio Merula]], [[William Byrd]], [[John Bull]], and [[Orlando Gibbons]]. Unlike Lynar A 1, this manuscript doesn't contain any works by Sweelinck.<ref>DirksenSweelinck 21.</ref>

==== Description ====
The manuscript is written by multiple hands in "Italian-Dutch" staff notation. Some pieces are written on two 6-line staves, and some are written on one 6- and one 7-line staff. Each page is 35x24.5cm in size.

In the early 20th century, the first and last pages of the manuscript (probably not written on) were concealed by binding paper for preservation purposes.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
|-
| 35-36 || Canzon || || ||
|-
| 37-38 || Pavan / sz: ae: mpetze / William Bÿrde / Angloss || || ||
|-
| 39-40 || Galiardo / William Bÿrde || || ||
|-
| 41-42 || Galliardo / Orlando Gibbons || || ||
|-
| 43-44 || Pavana. / The Earle / of Salisburÿ / William birde || || ||
|-
| 43-44 || Preludium / Doctor Bull || || ||
|-
| 43-44 || Galliardo || || ||
|-
| 43-44 || Galiardo Secundo / Miss Matye Brosonlo / William Birde || || ||
|-
| 45-46 || Preludium / Orlando Gibbons || || ||
|-
| 47-48 || Galliardo / Orlando Gibbons || || ||
|-
| 49-50 || Galliardo / Orlado Gibbons || || End: ''Finis Coronat / O Puc'' ||
|-
| 51-52 || Galliardo / orlando gibbons || || ||
|-
| 53-58 || ''[no title]'' || || 13 variations ||
|-
| 58 || ''[no title]'' || || ||
|-
| 59-62 || A. Voluntarge / M. Bird || || ||
|-
| 63-66 || Tantasia / M. Bird || || ||
|}

==== References ====
{{RISM|1001079620}}

Schierning, 81-84.

<references />

===Lynar B 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 1 | Deutsche Orgeltabulatur vom 1. Drittel | des 17. Jhdt. | Enthält Kompositionen von | J. P. Sweelinck, Paul Siefert, | Andr. Düben, Jak.Prätorius, Peter | Hasse, Gottfr. Scheidt, Samuel Scheidt | W. Karges, D. H. und M. D.'' 
Ms. Lynar B 1; German tablature from the first 3rd of the 17th century. Contains compositions frome [[Jan Pieterszoon Sweelinck]], [[Paul Siefert]], [[Andreas Düben]], [[Jacob Praetorius]], [[Peter Hasse]], [[Gottfried Scheidt]], [[Samuel Scheidt]], [[Wilhelm Karges]], D. H. and M. D.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 1|url=http://resolver.staatsbibliothek-berlin.de/SBB000253A600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 1''' contains 71 pages. Among other things, it contains a compilation of settings of ''Allein Gott in der Höh sey Ehr'' by different composers.
{| class="wikitable mw-collapsible"
|+Works in D-B Mus. Ms. Lynar B 1
!No.
!Title
!notes
|-
|1
|Fantasia Auff die manier von ein Echo. M. J. P. S.
|[[Jan Pieterszoon Sweelinck]]
|-
|2
|Puer natusin Bethlehem a Paulus Sivert
|[[Paul Siefert]]
|-
|3
|Nun komm der Heÿden Heÿlandt
|Paul Siefert?
|-
|4
|Nun Lobe meine Seele den Herren Auff 2 Clavir D. H.
|Düben?
|-
|5
|Wo Gott der Herr nicht beÿ unß Held auff 2 Clavir Andræ Duben
|[[Andreas Düben]]
|-
|6
|Allein Gott inn der Höh seÿ Ehr. M. J. P.
|Jan Pieterszoon Sweelinck
|-
|7
|Variatio Bicinium M. J. P.
|Jan Pieterszoon Sweelinck
|-
|8
|Variatio coral in Tenor M. J. P.
|Jan Pieterszoon Sweelinck
|-
|9
|Variatio coral in cantu 4 Vocum M. J. P.
|Jan Pieterszoon Sweelinck
|-
|10
|Variatio Choral in Cantu auff 2 Clavier A. Duben
|Andreas Düben
|-
|11
|Variatio choral in Basso A. D.
|Andreas Düben
|-
|12
|Variatio Choral in Bass M. Duben
|[[Martin Düben]]
|-
|13
|Variatio Choral in Baß 3 vocum
|
|-
|14
|Varatio
|
|-
|15
|Variatio Choral in Tenore 3 vocum P Hassen
|[[Petrus Hasse]]
|-
|16
|Variatio 3 Vocum Choral in Basso P. Hass
|Petrus Hasse
|-
|17
|Var. 12 G. S.
|[[Gottfried Scheidt]]
|-
|18
|Var. Choral in Cantu auff 2 Clav. G. S.
|Gottfried Scheidt
|-
|19
|4 vocum
|
|-
|20
|Variatio Zum Alt vndt Tenor muße nur Stimmen von 4 Fuß gezogen werden
|
|-
|21
|Variatio Choral in Cantu auf 2 Clav.
|
|-
|22
|Variatio Choral in Tenore
|
|-
|23
|Allein Gott in der Höh seÿ EHR: S. S.
|[[Samuel Scheidt]]
|-
|24
|Allein Gott â 3 Vocum Choral in Bass W. Karges
|[[Wilhelm Karges]]
|-
|25
|Erstanden ist der Heilige Christ M. D. Simpel - Auff 2. Clavir - Choral in Cantu auff 2. Clavier. - Coral in Basso 3. Voc:
|[[Martin Düben]]
|}

==== Analysis ====
===== Allein Gott in der Höh sei Ehr =====
One of the striking features of this manuscript is a cycle of chorale settings of ''Allein Gott in der Höh sei Ehr'' (with continually incrementing variation number), with some attributed to different composers and others left anonymous.

Theories have surrounded the reasoning for these compositions to have been included together. [[Max Seiffert]] said that they could have been composed by Sweelinck and his pupils together as one complete work. However, this was rejected by [[Margarete Reimann]], who said that it was simply compiled by someone else, perhaps the scribe of '''Ms. Lynar B 1'''. However, [[Pieter Dirksen]] states that the true facts may not be so simple. For instance, many of the variations form strong variation cycles themselves, such as the first few variations by Sweelinck. After these, the rest are more reminiscent of contrapuntal excercises, but several of the anonymous variations have stylistic similarities with each other, and it is possible that they were composed by the same person.

It was noted that variation 15 is a transposed copy of variation 7 (this was pointed out by [[Gisela Gerdes]].

==== References ====
[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Orgelmusik av familjen Düben''. Stockholm: Runa Nototext, 1996. xxi-xxii.

{{NdS2 2009}}

{{RISM|1001048774}}

Schierning, 32-34

<references />

===Lynar B 2===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 2 | Deutsche Orgeltabulatur ca. 1630 | Darin genannt Melchior Schildt | und J. P. Sweelinck, sonst alles anonyme Stücke'' 
Ms. Lynar B 2; German organ tablature from around 1630. Within it are pieces by [[Melchior Schildt]] and [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0000673100000000|urlc=digital.staatsbibliothek-berlin.de|date=28 April, 2024}}
----

====Description====
'''Lynar B 2''' is a folio volume over 30 pages.

It doesn't contain any clues as to its origin, copyist, or date. Some theories include that it was compiled in North Germany around 1620-1630 or by [[Melchior Schildt]] while he was in Copenhagen around 1626-1629. However, different hands can be identified as having copied different pieces in the manuscript, so it may have been compiled over a longer period of time.

The tablature contains only fantasias and chorale/psalm settings. Of the 17 pieces contained within, two are headed by initials which give a hint to the composer. Of the rest, three more can be identified based on concordances with other manuscripts. The composers of these five works are [[Jan Pieterszoon Sweelinck]], [[Melchior Schildt]] and [[Heinrich Scheidemann]]. The rest of these pieces remain anonymous, but can be attributed to various composers on stylistic grounds.

==== Works ====
{| class="wikitable mw-collapsible"
|+Works in D-B Ms. Lynar B 2
!Fol.
!Title
!Incipit
!Notes
!Ref.
|-
|1r
|[Fanta]sia [mit B]indungen
|<score><< \relative c'' { \time 4/2 c1. c2 d2. e4 } \\ \relative f { f1 a2 f bes g } \\ \relative a' { a1 a2 a bes2 bes } \\ \relative f' { f1 e2 f~ f g } >></score>
|Jan Pieterszoon Sweelinck
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|1v-3r
|Fantasia A 4
|<score>\relative c'' { \time 4/2 c2. bes4 a2 g f4 g a bes }</score>
|[[Jan Pieterszoon Sweelinck]]
|<ref name="dirkb2"></ref>
|-
|3v-6r
|fantasia primi Toni A 4
|<score><< \relative g' { \time 4/2 g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >></score>
|Actually ''Nun komm der Heiden Heiland''
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|6v-8r
|ach Gott / vom him: / mel sieh / darein.
|<score><< \relative a' { \time 4/2 \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >></score>
|[[Heinrich Scheidemann]]?
|<ref name="dirkb2"></ref>
|-
|7v-10r
|Herr Christ der / Einig Gottes Sohn a.4 / mit dem pedahll / auch 2 Clauier / M.S
|<score>\relative bes { \clef alto \time 4/2 bes1 bes2 d c bes a2. }</score>
|[[Melchior Schildt]]
|
|-
|10v-12r
|Wie schön / leucht unß / der Morgenstern / A.4.
|1 variation <score><< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >></score> 2 variatio <score>\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }</score> 3 variatio <score><< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >></score> 4 variatio <score><< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >></score> 5 variatio <score><< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >></score>
|
|<ref name="dirkb2"></ref>
|-
|12v-15r
|Nun freut euch / lieben Christen / gmein / Cohrall im / Tenor
|1 variatio <score><< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >></score> 2 variatio <score><< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>></score> 3 variatio <score>\relative bes { \clef alto \key f \major bes1 bes2 d c bes }</score> 4 variatio <score><< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >></score> 5 variatio <score><< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >></score>
|
|<ref name="dirkb2"></ref>
|-
|8
|psalm 116 / J. P.
|<score><< \relative d'' { \time 4/2 r1 d1 } \\ \relative d' { d2 b4 c d8 c b a g4 g'\laissezVibrer } >></score>
|Jan Pieterszoon Sweelinck
|
|-
|9
|O Lux Beata Trinitas:
|
| <score><< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>></score>
|<ref name="dirkb2"></ref>
|-
|10
|psalm 60 A 2
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|11
|O Gott du unser Vater bist
|Anonymus: Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >></score> 2 variatio <score><<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>></score> 3 variatio <score><< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >></score>
|<ref name="dirkb2"></ref>
|-
|12
|P 23 Mein hütter Undt mein hirtt
|Anonymus: Jan Pieterszoon Sweelinck
|<score><< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >></score>
|<ref name="dirkb2"></ref>
|-
|13
|die 10 Gebott Gottes
|Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >></score> 2 variatio <score><< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >></score> 3 variatio <score><< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> } >></score> 4 variatio <score><< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >></score>
|<ref name="dirkb2"></ref>
|-
|14
|Es spricht den unweisen Mundt woll
|Heinrich Scheidemann
|
|
|-
|15
|Fuga Cromatico ex D.la.sol.re.
|
|
|
|-
|16
|Fantasia A. 2: 3: et 4 Vocum
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|17
|Fantasia Super ut re mi fa.sol.la. A. 3. Vocum
|
|
|
|}

After the publishing of 8 more works in Lynar B 2 by [[Pieter Dirksen]] in 1991, two works remain unpublished. The ''Fuga Cromatico'' and ''Fantasia Super ut re mi fa.sol.la.'' were described as "a brief composition employing imitation and simple chromatic lines" and "a pedantic, three-part hexachordal settings, in which the sogetto appears in the bass thirteen times in exactly the same form, constantly alternating between entries on c and G" respectively.

The setting of ''O God die onse Vader bist'' can for now be securely attributed to Sweelinck on the basis of the cantus firmus being a Dutch psalm in addition to stylistic features. Similarly, the setting of Psalm 23 can also be attributed to him, especially based on the similarities to Sweelinck's composition on Psalm 116 (which can be found in other manuscripts).

Confusingly, the manuscript contains a piece titled "fantasia primi / Toni A 4" which is neither a fantasia nor in the first tone. In fact, it is a chorale setting of ''Nun komm, der Heiden Heiland.''

<score><< \relative g' { \clef "treble_8" g1 g f bes a g a g2 r4 g bes2 g a4 g f e d e f g a bes c a bes c d2~ d4 cis8 b cis2_"etc." } \\ \relative g { s1*7 g1 g f bes a g a } \\ \\ \relative g { r2 g bes c d4 c bes a g a bes c d e f d e f g2~4 fis8 e fis2 g d d4 c d e f g a g f e d e f g a f g a g f e2 a } >></score>

It is possible that this heading was written by a different copyist before this work was written at a later date. In any case, this work only uses the first (identical with the last) line of the chorale (which means that this work could be classified as a ''choral ricercare'' or ''choral fugue''), and the contrapuntal writing is strikingly plain and schematic. In fact, this piece has been described as containing a "peculiar monothematic compositional technique, which is probably unparalleled in the surviving corpus of seventeenth century choral settings."

According to [[Pieter Dirksen]], the chorale fantasia ''Ach Gott, vom Himmel sieh' darein'' stands apart from the other works in Lynar B 2, as it transmits a chorale fantasia in the fully mature form. An attribution to [[Heinrich Scheidemann]] is possible. He is the only composer who is known to have composed chorale fantasias before 1650 (actually, this piece was not copied at a later point than the rest of the manuscript, because the same hand can be identified in Lynar B 6 and 7, and the first scribe of the manuscript writes some of the piece). However, this attribution is not secured. Some features which appear in almost all chorale fantasias by Scheidemann such as ''the simpler 'echo' techniques like monodic right-hand echoes, antiphonal echoes or 'trio echoes''', are not found in this work. Also, as shown by [[Michael Belotti]], the practice of showing the Rückpositiv voice in the top line of the manuscript even when it is in the tenor is not found in Scheidemann's music, but it does appear in the Magnificat I. toni by Schildt in the second volume of the [[Zellerfeld Organ Tablatures]].<ref>DirksenScheidemann 114-115.</ref>

The setting of ''O Lux beata Trinitas'' appears to be a result of the early Sweelinck school based on some sixteenth-note figurations that can be found within it. However, it can not be found to be similar to any single composer on stylistic grounds. The ''cantus firmus'' appears in the tenor voice completely un-ornamented in long notes. This arrangement suggests that it can be played in pedal, but the voice rises up to f' which would require a 4-foot stop to be used on an organ with a 27-note pedalboard.

==== References ====
{{NdS2 2009}}

[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

Schierning, 32-34

{{RISM|466000013}}

<references />

=== Lynar B 3 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 3 | Deutsche Orgeltabulatur ca. 1630 | Genannt sind darin: H. Scheide- | mann, J. P. Sweelinck, David Abel, | Andr. Düben, M. D., Peter Hasse, | M. W. C. B. M.'' 
Ms. Lynar B 3. German organ tablature from around 1630. Contains: [[Heinrich Scheidemann]], [[Jan Pieterszoon Sweelinck]], [[David Abel]], [[Andreas Düben]], M. D., [[Peter Hasse]], [[M. W. C. B. M.]]</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 3|url=http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023|imslp=554336}}
----

The numbers are penciled in by a librarian (on the bottom right).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1r || [missing] || || Title is on missing verso side ||
|-
| 1r || Praeludium || || Piece continues on missing verso side. ||
|-
| 1v-2r || Praludium || || ||
|-
| 2v-3r || Praludium || || ||
|-
| 3v-4r || Praludium || || ||
|-
| 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || || ||
|-
| 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] 2 Variation 3 || ||
|-
| 6v-9r || Fantasia / J. P. || || ||
|-
| 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 10v-11r || Praludium / pedaliter || || ||
|-
| 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 12v-12ar || Praludium || || ||
|-
| 12av-13v || Praludium || || ||
|-
| 13v-14r || Praludium || || ||
|-
| 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 15v-18r || Fantasia || || ||
|-
| 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] ||
|-
| 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 25v-26r || Fuga || || ||
|-
| 26v-27r || Ricercar / primi Toni || || ||
|-
| 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 32v-33r || Praambulum / pedaliter || || ||
|-
| 33v-34r || Praambulum / pedaliter || || ||
|-
| 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 36v-37r || Praludium / Pedaliter || || ||
|-
| 37v-38r || Praludium / M. D. O || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 39v- || Praludium / pedaliter || || Fragment ||
|}

==== References ====
{{RISM|466000011}}

<references />

=== Lynar B 4 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 4 | Deutsche Orgeltabulatur ca. 1630. | Genannt nur J. P. Sweelinck, | sonst anonyme Stücke. '' 
Ms. Lynar B 4. German organ tablature from around 1630. Containing pieces by only [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 4|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438100000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

The page numbers (instead of folios) have been penciled in by a librarian.

==== Contents ====

This manuscript contains four pieces:

{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 4
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1-3 || In dich hab / ich gehoffet / Herr / auf 2 Clavier / Manualiter || <score><< \relative d' { \clef alto \time 4/2 d1 d2 a' e g } \\ \relative d { r2 d2. e4 f g a8 b c d e2.*2/3 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 4-9 || Jesus Christus / unser Heylandt / auf 2 Clavier / pedaliter || <score><< \relative a { \clef alto \time 4/2 a1 d d2 cis d a4. b8 c2 c } \\ \relative d { R\breve r1 r2 d a'1 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 10-11 || Fantasia / M. J. P. || <score><< \relative d' { R\breve R\breve r2 d } \\ \relative d' { \clef alto \time 4/2 d1 d2 d c bes a1 g2. a4 } >></score> || [[Jan Pieterszoon Sweelinck]] ||
|-
| 14-17 || Fantasia / A 3 Vocum / Transpon: per 4 toni || <score>\relative b' { \time 4/2 b1 b2 b a c b4 a g fis }</score> || ||
|}

Only one piece contains an attribution, the initials M. J. P. (=[[Jan Pieterszoon Sweelinck]]). However, all four pieces can be accounted for based on concordances found elsewhere. The first piece appears in [[D-Lr Mus.ant.pract. K.N. 208/1]] titled ''In dich hab ich gehoffet H.S.M.'', linking the piece to [[Heinrich Scheidemann]] (WV 8<ref name="dirksen">DirksenScheidemann, xviii.</ref>). The second piece is also composed by Scheidemann based on concordances in [[Zellerfeld Organ Tablatures]] vol.1 and the [[Pelplin Tablatures]] (WV 10).<ref name="dirksen"></ref> The fourth piece is a transposed parody of the [[Samuel Scheidt]] ''Tabulatura Nova'', vol. 2 no.6 (the composer of the parody is unknown).

==== References ====
{{RISM|1001048776}}

Schierning, 31.

<references />

=== Lynar B 5 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 5 | Deutsche Orgeltabulatur ca. 1630 | Darin 1 Choralbearbeitung von | Jakob Praetorius (unvollständig)'' 
Ms. Lynar B 5. German organ tablature from around 1630. Contains one choral work from [[Jacob Praetorius]] (incomplete).</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 5|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438200000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:PPN1032686251 00000006.jpg|thumb|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]
This manuscript contains one piece, a fragment of a [[Chorale Fantasia]] ''Durch Adams Fall ist ganz verderbt'' auff 3 clavier by [[Jakob Praetorius]]. The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''<ref>[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.</ref>.

==== References ====
{{RISM|1001048780}}

Schierning, 37-38.

<references />

=== Lynar B 6 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 6 | Deutsche Orgeltabulatur ca. 1630 | Enthält 1 Toccata von Heinrich | Scheidemann'' 
Ms. Lynar B 6. German organ tablature from around 1630. Contains one toccata by [[Heinrich Scheidemann]].</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 6|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438300000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 6''' contains a manualiter Toccata auf 2 clavir (WV 43) by [[Heinrich Scheidemann]] on 10 pages.

An autograph manuscript of this piece has been discovered in [[D-W Cod. Guelf. 8 Noviss. 2/o]]. Besides this, copies are also found in many other manuscripts including the first volume of the [[Zellerfeld Tablatures]], [[D-W Ms. 227]], and various different (corrupted) forms in [[D-Lr Mus.ant.pract. K.N. 208-1]] and [[D-Lr Mus.ant.pract. K.N. 209|209]], and [[D-B Am.B 340]] (the last three manuscripts transmit the piece in a "pedaliter version" and are assigned WV number 43a by Dirksen).

Before the discovery of the Wolfenbuttel manuscript, Breig stated that the copy in '''Ze 1''' is likely the most accurate.

==== References ====
{{RISM|1001048781}}

[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft 3. Wiesbaden: Franz Steiner, 1967. 87-93, 108.

DirksenScheidemann xvii, 3-5.

<references />

=== Lynar B 7 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 7 | Deutsche Orgeltabulatur ca. 1640. | Enthält Psalmen und Choräle, alle anonym'' 
Ms. Lynar B 7. German organ tablature from around 1640. Contains psalms and chorales, all anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 7|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438500000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:Lubbenauer.jpg|right|thumb|The heading to Psalm 100 in Lynar B 7]]
Ms. Lynar B 7 consists of single- and multi-verse settings of various Genevan psalms and the chorale ''Erhalt uns, Herr, bei deinem Wort''.

This manuscript was published by [[Pieter Dirksen]] in 1996.

==== Description ====
The header of each piece is stylized by a three-pronged symbol followed by the number of the psalm. Some verses are also marked "3 voci" or "Corall in tenor" for example.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 7
|-
! fol. !! Title !! Incipit !! Notes
|-
| {{TT|1r-2r}} || P 66 || <score>{ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }</score> 2. V. <score>{ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }</score> ||
|-
| {{TT|2v-3r}} || P 5 || <score>{ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }</score> 2 Vari / in Basso <score>{ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }</score> 3 V. / im Tenor <score>{ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }</score> ||
|-
| {{TT|3v-5r}} || P 116 || <score>{ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }</score> 2 Vari: <score>{ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }</score> 3. Vari / Corahll in / Tenor <score>{ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }</score> 4 Variatio / a 4 <score>{ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }</score> ||
|-
| {{TT|5v-7r}} || P 100 || <score>{ \time 4/2 \clef alto << \relative a' { a1 b g2 c2*1/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g2*1/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }</score> [2 V] <score>{ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }</score> 3 variation <score>{ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }</score> [4 V] <score>{ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }</score> || Written in second hand
|-
| {{TT|6v-7r}} || Erhalt uns / Herr beij / deinen wortt || <score>{ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }</score> 2 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }</score> 3 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2*1/2 } \\ \relative ees { ees8 d c b r c b a g2*1/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }</score> || Written in second hand
|-
| {{TT|7v-8r}} || P 24 || <score>{ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }</score> 2 V. / a 3 <score>{ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }</score> ||
|}

==== Analysis ====
Dirksen states that the pieces in this manuscript can be conclusively connected with the Netherlands. While such psalm variations (and the psalm melodies themselves) are ''wholly unknown'' in Germany, they were abundantly found in the Netherlands, always in ''variation'' form (instead of German forms such as the [[Chorale Fantasia]]).

According to Dirksen, the five psalm melodies found in '''Ms. Lynar B 7''' were the most popular melodies from the Genevan Psalter during this time period.

The psalm variations ''are marked by a great unity of style''. On the other hand, the setting of ''Erhalt uns, Herr, bei deinem Wort'' is found to be slightly more sophisticated, and it has more rhythmic and harmonic variety. The compositions share a number of recurring musical patterns with pieces by [[Jan Pieterszoon Sweelinck]], but the pieces are too conservative in character to have been composed by him. They were likely written by another composer who lived around the same time. They were probably brought to the German-speaking lands by a student of Sweelinck who copied them into tablature notation.

==== References ====
{{RISM|1001048782}}

[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996.

<references />

=== Lynar B 8 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 8 | Deutsche Orgeltabulatur ca. 1630. | darin der Siefertschüler Andreas | Neunaber vertreten'' 
Ms. Lynar B 8. German organ tablature from around 1630, containing [[Andreas Neunhaber]], the student of Siefert.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 8|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains two pieces, "Ich ruff zu / dir herr / Jesu Christ / auff 2. clavier" and "Alio modo / auff 2. und 3. / Clavir, und auff der / Pedal zu gebrauch: / Anton Neunhaber." These are thought to be two verses of the same piece by [[Andreas Neunhaber]] (Max Seiffert made the connection from Anton -> Andreas Neunhaber).

==== Description ====
Unlike all of the other Lynar B tablatures, this manuscript splits the octave at 'h' instead of 'c'.

[[Lydia Schierning]] said that Neunhaber was only the composer of the second piece and that it is possible the scribe was planning to create a larger compilation of chorale settings on this chorale tune by different composers.

The second piece is in five voices and has detailed manual change indications written into the tablature.<ref>[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.</ref>

==== Contents ====
<score><<
\new Staff \relative a' { \mark "1" \time 4/2 r2 a f4 e8 f g4 f8 g f8 g f e d c d e f16 e f g f g a f g f g a g a bes g a1 }
\new Staff \with { \clef bass } << \relative f { f1 a2 c a bes a e f4 d2 cis4 } \\ \relative d { d1 d2 e f g d c f,4. g8 a2 } >>
>></score>

<score><<
\new Staff \relative a' { \mark "2" \time 4/2 r1 r1 r1 a f2 g f8 g e f d g d e }
\new Staff \with { \clef bass } << \relative a { r1 r4 a f g f d f g f2 e d2. e4 a2 bes } \\ \relative a { r4 a f g f d d8 c bes4 a f a8 d bes c a4 d d cis d bes bes c d2 g } >>
>></score>

==== References ====
{{RISM|1001048783}}

Schierning, 39.

<references />

=== Lynar B 9 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 9 | Deutsche Orgeltabulatur ca. 1630 | 2 anonyme Praeludien.'' 
Ms. Lynar B 9. German organ tablature from around 1630. Two anonymous preludes.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 9|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438800000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

Both preludes were edited by [[Partitura Organum]] in 2019.

==== Description ====
Both preludes are typical of the north-German präludium.

Some notes are not visible on the edge of the left page.

==== Contents ====
[[File:Lynar b 9.jpg|thumb]]

<score><<
\new Staff << \relative e'' { \mark "Praeludium 1" e1 f2 e d4 e f2 e1 a,2. 4 a2 d~ d d c2 a4 b } \\ \relative a' { a1 a2 a a1 e2 e~ e4 e e2 f4 g a2~ a a a r2 } >>
\new Staff \with { \clef alto } << \relative cis' { cis1 d2 e f4 e d2 cis2 cis~4 4 2 d4 e f2~ f f e1 } \\ \relative a { a1 a2. 4 a1 a r1 r2 a~a a4 b c a c d } >>
\new Staff \with { \clef bass } \relative a, { \time 4/2 a1 d2 cis d1 a2 a'~ a4 a a2 d,2. e4 f d f g a1 }
>></score>

<score><<
\new Staff << \relative c'' { \mark "Praeludium 2" \time 4/2 c1 d4. ees8 d4 c bes2 bes~ bes4 c8 bes a4 g a1 } \\ \relative f' { f1 f f f f4 e8 d c4 d } >>
\new Staff \with { \clef bass } << \relative a { a1 bes2 bes4 c d1 c2. bes4 c2 a4 bes } \\ \relative f { f1 bes, bes4 c d e f1 f } >>
>></score>

==== Scores ====
'''Prelude 1:''' [https://partitura.org/index.php/anonymus-praeludium/ partitura.org], 31 October, 2019. ([https://partitura.org/wp-content/uploads/2019/10/Anonymus-Lynar-B9-Praeludium-1.pdf Score]) Accessed 14 January, 2023.

'''Prelude 2:''' [https://partitura.org/index.php/anonymus-praeludium-2/ partitura.org], 5 November, 2019. ([https://partitura.org/wp-content/uploads/2019/11/Anonymus-Lynar-B9-Praeludium-2.pdf Score]) Accessed 14 January, 2023.

==== References ====
{{RISM|1001048784}}

Schierning, 39.

<references />

=== Lynar B 10 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 10 | Deutsche Orgeltabulatur ca. 1640. | Inhalt 1 anonyme Choralbearbeitung'' 
Ms. Lynar B 10. German organ tablature from around 1640. Contains one anonymous choral work.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 10|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438900000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains one piece, anonymous ''Sei nun wieder zufrieden'' a 3. The composition ends after the first system on the third page, the final symbol is a cut time signature.

The texture of the piece is very odd compared to all the other pieces contained in the Lynar Tablatures.

<score><<
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor g1 a2 bes2 bes c d d r r d d d4. g,8 c2. c4 | bes1 bes2 bes1 a2 bes1 r2 R1. R1. R1. r2 f' ees }
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor R1. g1 a2 bes2 bes c d bes bes bes a2. a4 bes2. c4 d2 c2 c1 bes2 bes c d2. ees4 c2 bes2 bes r2 R1. r2 d c }
\new Staff \with { \clef bass } \relative g { \time 3/2 \key g \minor g1 f2 ees1 c2 bes1 a4 g f2 g d ees f1 g2. a4 bes2 ees,2 f1 bes2 bes' a g g, a bes bes c d2. ees4 f2 | bes1 c2 }
>></score>

Actually, it appears that it is an intabulation of a cantata instead of an original organ piece (Scierning says that it seems to have been written for two sopranos and basso continuo).

The title is from Psalm 116, verse 7.

==== References ====
{{RISM|1001048785}}

Scierning, 106

<references />

=== Lynar C ===
'''Lynar C''' (also called C 1 or B 11{{Citation needed}})contains anonymous polyphonic settings of the 150 genevan psalms (actually only 124 settings, because of the reuse of psalm tunes). It is written on 119 sheets in [[New German Tablature Notation]].

The settings are extremely simple. It appears that this was a psalm-book that used privately by people gathered together, who would sing the psalms, or play them on all different instruments, at social gatherings (or it was a copy of this type of book).

''The current status of '''Ms. Lynar C''' is not clear. It is not found in the [https://stabikat.de] database under the shelfmark "Ms. Lynar C" or "Lynar B 11"<ref>See [https://stabikat.de/Search/Results?lookfor=ms.+lynar*&type=ShelfMark&limit=20], accessed 31 October, 2023.</ref>.''

==== References ====
Schierning, 106-109.

<references />

[[Category:Manuscripts|Lynar]]
[[Category:Tablatures|Lynar]]
[[Category:German manuscripts|Lynar]]

Lynar Tablatures

2024-04-28T22:59:14Z

WillsSchoolAccount: /* References */ Remove citation which is included on RISM by mistake. This manuscript is not mentioned there. Also, add link to scan of Lynar b 2

The '''Lynar tablatures''' are a collection of manuscripts that are currently held in the Staatsbibliothek, Berlin. It has been interpreted as one of the most important sources for the works of the North-German pupils of [[Jan Pieterszoon Sweelinck]].

With a few exceptions, the Lynar Tablatures exclusively transmit keyboard music, mostly for organ. The exceptions are one manuscript which appears to contain an [[Intabulation]] of a cantata (see [[#Lynar B 10|B 10]]) and another which appears to be transcribed from a psalm part book ([[#Lynar C|C]]).

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Overtime, many of the other anonymous compositions have been linked to composers based on concordances and stylistic analysis.

The Lynar Tablatures themselves (as well as the pieces within) have been covered in-depth by many musicologists, including [[Lydia Schierning]] in her extensive book on manuscripts of german early keyboard music, and [[Pieter Dirksen]] in various books and publications.

All of the Lynar Tablatures except B 2 and C 1 are already digitized. However, it appears that B 2 is currently being digitized'''<nowiki>[as of September, 2023]</nowiki>'''<ref>[https://stabikat.de/Record/671441701 stabikat.de], accessed 24 September, 2023. -> "Online-Zugang": ''Das Werk, das Sie suchen, befindet sich aktuell in der Digitalisierung. ''</ref>.

== History<ref>[[Hans Schnieders|Schnieders, Hans]], "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [https://archiv.ub.uni-heidelberg.de/volltextserver/12663/1/Schnieders_2011.pdf], accessed 15 September, 2023. 2.15 Lynar A1</ref> ==
The first Lynar tablatures that were known to musicologists were the '''A 1''' and '''A 2''' manuscripts. These two manuscripts had copies made of them in the middle of the 19th century. Later in the 19th century both manuscripts went missing (In the 1894 edition of keyboard works of Sweelinck, [[Max Seiffert]] could only rely on the 1841 copy). However, the "A" manuscripts were fortunately found in 1920, and around this time the 11 manuscripts in tablature notation were discovered by [[Rochus Friedrich zu Lynar]]. All 13 manuscripts were collected and stored in the Spreewald museum in Lübbenau-Lehde. In 1933<ref>[[Max Seiffert|Seiffert, Max]] (editor), ''Sweelinck: Werken voor Orgel en Clavecimbel.'' Amsterdam: G. Alsbach & Co., 1942. xlvi</ref> [[Max Seiffert]] inspected the manuscripts and assigned the shelfmarks starting with A (referring to staff notation) and B (tablature notation). The description penciled on the front of each manuscript is written by Seiffert.

<blockquote>The Lynar B collection of tablatures was discovered more recently. They were found during the reorganization of the castle papers for removal to a newly founded city museum in the 1920s. According to [[Hans Joachim Moser]], the first musicologist to see them, they consisted of nothing but a ''large, disordered pile of paper–partly gathered in bundles, partly consisting of loose sheets and notated in organ tablature.''<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. V</ref></blockquote>

In 1956, the manuscripts were moved to the ''Staadtsbibliothek'', Berlin, retaining their previous shelfmarks.

== Description ==
According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized '''Ms. Lynar A 1''', '''Ms. Lynar B 2''', etc.

The "A" tablatures are in various types of staff notation, and the "B" (and "C") tablatures are in [[New German Tablature Notation]].

== Analysis ==
=== Lynar A Tablatures ===
<blockquote>...the Lynar A manuscripts must be particularly close to Sweelinck's autographs, if not actually copied directly from them–which seems not only to hold for the large collection of Sweelinck pieces themselves (in Lynar A 1) but for much of the remaining content as well, including the large virginalist section in LyA2.<ref>DirksenScheidemann, 144-145.</ref></blockquote>

=== Lynar B Tablatures ===

==== [[Pieter Dirksen]]<ref name="dirksen">DirksenScheidemann, 9-10.</ref> ====
<blockquote>The Lynar B tablatures as a whole must now be seen as a closely connected series of sources which probably actually originated within the North German Sweelinck school, going back directly to one of the North German Sweelinck pupils.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII</ref></blockquote>

The Lynar B tablatures have proven valuable as a source of works from the North-German Sweelinck school as well as from Sweelinck himself, as thirteen works (including 10 not known from any other source) by him are found within.

Dirksen interprets the 11 "B" tablatures as forming a unified whole because (among other reasons) it can be identified that some of the unknown copyists wrote more than one manuscript each.

As for the originating location of the manuscripts, the area of Gdańsk (german: Danzig) was theorized based on the inclusion of pieces by [[Paul Siefert]] and [[Andreas Neunhaber]]. Similarly based on circumstantial evidence, the manuscripts can be dated to around the 1620s (even though some pieces within can be dated to later). One date found within the manuscript, 1628, also suggests this.

Dirksen notes that the works by Sweelinck must have been transcribed from Anglo-Dutch staff notation to [[New German Tablature Notation]].

== References ==
[[Pieter Dirksen|Dirksen, Pieter]]. ''The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence.'' Muziekhistorische Monografieen, vol. 15. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997. ("DirksenSweelinck")

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. ("DirksenScheidemann")

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

<references />

== Contents ==
=== Lynar A 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar A 1 | Jugendautograph des Hamburger | Organisten Matthias Weckmann | (1620-1674), begonnen 1637 in Ham- | burg. Niederländische Tabulatur auf | 2 x 6 Linien. | Inhalt Kompositionen von | Jan Pieters Sweelinck, Christian | Erbach, Gio. Gabrieli, Peter Philipps, | John Bull, Gilles Farnaby, L. Wood- | sen, La Barre, Gautier, Ballard, | M. Weckmann, Pieter Cornet.'' Ms. Lynar A 1: Young autograph by the Hamburg organist [[Matthias Weckmann]] (1620-1674), begun in 1637 in Hamburg. Dutch tablature on 2x6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000031.jpg|thumb|Toccata by Sweelinck in Lynar A 1]]
'''Ms. Lynar A 1''' is a manuscript in Dutch 6-line staff notation. It contains 81 keyboard pieces. It is one of the first manuscripts to be known to early musicologists and has been called "the primary source for the keyboard music of [[Jan Pieterszoon Sweelinck]]"<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm variations from Lynar B 7.'' Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. Page V.</ref>.

Despite going missing in the late 19th century, this manuscript has since been rediscovered.

Actually, the scribe of the manuscript is not [[Matthias Weckmann]] (like [[Max Seiffert]] said)<ref>Schierning, 78</ref><ref>DirksenSweelinck, 21</ref>.

==== Description ====
[[Max Seiffert]] said that the scribe of the manuscript was [[Matthias Weckmann]] while he was a student of [[Jakob Praetorius]].<ref>Schierning, 78</ref> One possible reason for this is that the manuscript was located in the Hamburg ''Universitätsbibliothek'' when it was inspected by him.<ref>Schierning, 78. ''Dieses Manuskript war bis zu seiner Vernichtung im letzten Krieg im Besitz der Hamburger Universitätsbibliothek...''</ref>

However, when comparing this manuscript with the [[Visby Tablature]], which was written in similar circumstances (by [[Berendt Petri]] while studying with [[Jakob Praetorius]]), the difference in repertoire can be seen. Actually, based on the use of the organ in North-Germany, Jakob Praetorius and his students would only have use for verses and variations on chorales, hymns, magnificats, motet intabulations and short preludiums.<ref>Schierning, 79</ref>. It seems unlikely that J. Praetorius would have changed his teaching (including choice of pieces) and at the same time it would not be usable for his student from Hamburg.<ref>Schierning, 79</ref> For this reason, a North-German origin of this manuscript (under the teaching of Jakob Praetorius) is doubtful.<ref>Schierning, 79. ''Diese Fragen werden kaum zu bejahen sein, somit ist eine norddeutsche Herkunft der Handschrift stark zu bezweifeln''</ref>

On the question of proximity to Autographs by Sweelinck, Pieter Dirksen says that the manuscript must have had an origin close to Sweelinck and his school, not only based on the selection of pieces included but also their high copying quality.

<blockquote>The Sweelinck pieces are copied with hardly any mistakes at all, and anyone who has worked with manuscript sources knows how rare such a state of affairs is.<ref>DirksenSweelinck 21.</ref></blockquote>

In addition, ''The scribe apparently had access to an exclusive strain of the Sweelinck transmission'',<ref>DirksenSweelinck 22.</ref> as many high-quality pieces (including ''Mein junges Leben hat ein End'') are included which would surely be copied by other scribes if they had access to them. Also, the staff notation layout (two staves with six lines each) and other aspects of the notation (including the ''musicality of the two hands over the two staves'') suggest a direct connection to Sweelinck autographs.<ref>DirksenSweelinck 22.</ref>

==== Contents ====
{| class="wikitable"
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==== References ====
{{RISM|1001079614}}

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

=== Lynar A 2 ===
----
<blockquote>'''Seiffert:''' ''Italienisch-niederländische Tabulatur eines | süddeutschen Schreibers um 1610; 2 Systeme | 6 + 7 und 6 + 6 Linien. | Enthält Kompositionen von | Christian Erbach und der Engländer Will. | Byrd, Dr. Bull, Orlando Gibbons, | sowie einige von Gio. Gabrieli und Tarq. | Merula.'' Italian-Dutch tablature from south-German scribes from 1610; 2 systems, 6+7 and 6+6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0002915200000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671394380 00000020.jpg|thumb|A Canzona by [[Christian Erbach]] in Lynar A 2]]
'''Ms. Lynar A 2''' contains 42 [[Tasteninstrument]] pieces written in staff notation by [[Christian Erbach]], [[Giovanni Gabrieli]], [[Tarquinio Merula]], [[William Byrd]], [[John Bull]], and [[Orlando Gibbons]]. Unlike Lynar A 1, this manuscript doesn't contain any works by Sweelinck.<ref>DirksenSweelinck 21.</ref>

==== Description ====
The manuscript is written by multiple hands in "Italian-Dutch" staff notation. Some pieces are written on two 6-line staves, and some are written on one 6- and one 7-line staff. Each page is 35x24.5cm in size.

In the early 20th century, the first and last pages of the manuscript (probably not written on) were concealed by binding paper for preservation purposes.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
|-
| 35-36 || Canzon || || ||
|-
| 37-38 || Pavan / sz: ae: mpetze / William Bÿrde / Angloss || || ||
|-
| 39-40 || Galiardo / William Bÿrde || || ||
|-
| 41-42 || Galliardo / Orlando Gibbons || || ||
|-
| 43-44 || Pavana. / The Earle / of Salisburÿ / William birde || || ||
|-
| 43-44 || Preludium / Doctor Bull || || ||
|-
| 43-44 || Galliardo || || ||
|-
| 43-44 || Galiardo Secundo / Miss Matye Brosonlo / William Birde || || ||
|-
| 45-46 || Preludium / Orlando Gibbons || || ||
|-
| 47-48 || Galliardo / Orlando Gibbons || || ||
|-
| 49-50 || Galliardo / Orlado Gibbons || || End: ''Finis Coronat / O Puc'' ||
|-
| 51-52 || Galliardo / orlando gibbons || || ||
|-
| 53-58 || ''[no title]'' || || 13 variations ||
|-
| 58 || ''[no title]'' || || ||
|-
| 59-62 || A. Voluntarge / M. Bird || || ||
|-
| 63-66 || Tantasia / M. Bird || || ||
|}

==== References ====
{{RISM|1001079620}}

Schierning, 81-84.

<references />

===Lynar B 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 1 | Deutsche Orgeltabulatur vom 1. Drittel | des 17. Jhdt. | Enthält Kompositionen von | J. P. Sweelinck, Paul Siefert, | Andr. Düben, Jak.Prätorius, Peter | Hasse, Gottfr. Scheidt, Samuel Scheidt | W. Karges, D. H. und M. D.'' 
Ms. Lynar B 1; German tablature from the first 3rd of the 17th century. Contains compositions frome [[Jan Pieterszoon Sweelinck]], [[Paul Siefert]], [[Andreas Düben]], [[Jacob Praetorius]], [[Peter Hasse]], [[Gottfried Scheidt]], [[Samuel Scheidt]], [[Wilhelm Karges]], D. H. and M. D.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 1|url=http://resolver.staatsbibliothek-berlin.de/SBB000253A600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 1''' contains 71 pages. Among other things, it contains a compilation of settings of ''Allein Gott in der Höh sey Ehr'' by different composers.
{| class="wikitable mw-collapsible"
|+Works in D-B Mus. Ms. Lynar B 1
!No.
!Title
!notes
|-
|1
|Fantasia Auff die manier von ein Echo. M. J. P. S.
|[[Jan Pieterszoon Sweelinck]]
|-
|2
|Puer natusin Bethlehem a Paulus Sivert
|[[Paul Siefert]]
|-
|3
|Nun komm der Heÿden Heÿlandt
|Paul Siefert?
|-
|4
|Nun Lobe meine Seele den Herren Auff 2 Clavir D. H.
|Düben?
|-
|5
|Wo Gott der Herr nicht beÿ unß Held auff 2 Clavir Andræ Duben
|[[Andreas Düben]]
|-
|6
|Allein Gott inn der Höh seÿ Ehr. M. J. P.
|Jan Pieterszoon Sweelinck
|-
|7
|Variatio Bicinium M. J. P.
|Jan Pieterszoon Sweelinck
|-
|8
|Variatio coral in Tenor M. J. P.
|Jan Pieterszoon Sweelinck
|-
|9
|Variatio coral in cantu 4 Vocum M. J. P.
|Jan Pieterszoon Sweelinck
|-
|10
|Variatio Choral in Cantu auff 2 Clavier A. Duben
|Andreas Düben
|-
|11
|Variatio choral in Basso A. D.
|Andreas Düben
|-
|12
|Variatio Choral in Bass M. Duben
|[[Martin Düben]]
|-
|13
|Variatio Choral in Baß 3 vocum
|
|-
|14
|Varatio
|
|-
|15
|Variatio Choral in Tenore 3 vocum P Hassen
|[[Petrus Hasse]]
|-
|16
|Variatio 3 Vocum Choral in Basso P. Hass
|Petrus Hasse
|-
|17
|Var. 12 G. S.
|[[Gottfried Scheidt]]
|-
|18
|Var. Choral in Cantu auff 2 Clav. G. S.
|Gottfried Scheidt
|-
|19
|4 vocum
|
|-
|20
|Variatio Zum Alt vndt Tenor muße nur Stimmen von 4 Fuß gezogen werden
|
|-
|21
|Variatio Choral in Cantu auf 2 Clav.
|
|-
|22
|Variatio Choral in Tenore
|
|-
|23
|Allein Gott in der Höh seÿ EHR: S. S.
|[[Samuel Scheidt]]
|-
|24
|Allein Gott â 3 Vocum Choral in Bass W. Karges
|[[Wilhelm Karges]]
|-
|25
|Erstanden ist der Heilige Christ M. D. Simpel - Auff 2. Clavir - Choral in Cantu auff 2. Clavier. - Coral in Basso 3. Voc:
|[[Martin Düben]]
|}

==== Analysis ====
===== Allein Gott in der Höh sei Ehr =====
One of the striking features of this manuscript is a cycle of chorale settings of ''Allein Gott in der Höh sei Ehr'' (with continually incrementing variation number), with some attributed to different composers and others left anonymous.

Theories have surrounded the reasoning for these compositions to have been included together. [[Max Seiffert]] said that they could have been composed by Sweelinck and his pupils together as one complete work. However, this was rejected by [[Margarete Reimann]], who said that it was simply compiled by someone else, perhaps the scribe of '''Ms. Lynar B 1'''. However, [[Pieter Dirksen]] states that the true facts may not be so simple. For instance, many of the variations form strong variation cycles themselves, such as the first few variations by Sweelinck. After these, the rest are more reminiscent of contrapuntal excercises, but several of the anonymous variations have stylistic similarities with each other, and it is possible that they were composed by the same person.

It was noted that variation 15 is a transposed copy of variation 7 (this was pointed out by [[Gisela Gerdes]].

==== References ====
[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Orgelmusik av familjen Düben''. Stockholm: Runa Nototext, 1996. xxi-xxii.

{{NdS2 2009}}

{{RISM|1001048774}}

Schierning, 32-34

<references />

===Lynar B 2===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 2 | Deutsche Orgeltabulatur ca. 1630 | Darin genannt Melchior Schildt | und J. P. Sweelinck, sonst alles anonyme Stücke'' 
Ms. Lynar B 2; German organ tablature from around 1630. Within it are pieces by [[Melchior Schildt]] and [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0000673100000000|urlc=digital.staatsbibliothek-berlin.de|date=28 April, 2024}}
----

====Description====
'''Lynar B 2''' is a folio volume over 30 pages.

It doesn't contain any clues as to its origin, copyist, or date. Some theories include that it was compiled in North Germany around 1620-1630 or by [[Melchior Schildt]] while he was in Copenhagen around 1626-1629. However, different hands can be identified as having copied different pieces in the manuscript, so it may have been compiled over a longer period of time.

The tablature contains only fantasias and chorale/psalm settings. Of the 17 pieces contained within, two are headed by initials which give a hint to the composer. Of the rest, three more can be identified based on concordances with other manuscripts. The composers of these five works are [[Jan Pieterszoon Sweelinck]], [[Melchior Schildt]] and [[Heinrich Scheidemann]]. The rest of these pieces remain anonymous, but can be attributed to various composers on stylistic grounds.

==== Works ====
{| class="wikitable mw-collapsible"
|+Works in D-B Ms. Lynar B 2<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
!No.
!Title
!notes
!Incipit
!Ref.
|-
|1
|[Fanta]sia [mit B]indungen
|Jan Pieterszoon Sweelinck
|
|
|-
|2
|Fantasia A 4
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|3
|fantasia primi Toni A 4
|Nun komm der Heiden Heiland
|<score><< \relative g' { g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >></score>
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|4
|ach Gott vom him: mel sieh darein.
|[[Heinrich Scheidemann]]?
|<score><< \relative a' { \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >></score>
|<ref name="dirkb2"></ref>
|-
|5
|Herr Christ der Einig Gottes Sohn… M.S
|[[Melchior Schildt]]
|
|
|-
|6
|Wie schön leucht unß der Morgenstern
|
|1 variation <score><< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >></score> 2 variatio <score>\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }</score> 3 variatio <score><< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >></score> 4 variatio <score><< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >></score> 5 variatio <score><< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >></score>
|<ref name="dirkb2"></ref>
|-
|7
|Nun freut euch lieben Christen gmein
|
|1 variatio <score><< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >></score> 2 variatio <score><< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>></score> 3 variatio <score>\relative bes { \clef alto \key f \major bes1 bes2 d c bes }</score> 4 variatio <score><< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >></score> 5 variatio <score><< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >></score>
|<ref name="dirkb2"></ref>
|-
|8
|psalm 116 J. P.
|Jan Pieterszoon Sweelinck
|
|
|-
|9
|O Lux Beata Trinitas:
|
| <score><< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>></score>
|<ref name="dirkb2"></ref>
|-
|10
|psalm 60 A 2
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|11
|O Gott du unser Vater bist
|Anonymus: Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >></score> 2 variatio <score><<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>></score> 3 variatio <score><< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >></score>
|<ref name="dirkb2"></ref>
|-
|12
|P 23 Mein hütter Undt mein hirtt
|Anonymus: Jan Pieterszoon Sweelinck
|<score><< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >></score>
|<ref name="dirkb2"></ref>
|-
|13
|die 10 Gebott Gottes
|Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >></score> 2 variatio <score><< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >></score> 3 variatio <score><< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> } >></score> 4 variatio <score><< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >></score>
|<ref name="dirkb2"></ref>
|-
|14
|Es spricht den unweisen Mundt woll
|Heinrich Scheidemann
|
|
|-
|15
|Fuga Cromatico ex D.la.sol.re.
|
|
|
|-
|16
|Fantasia A. 2: 3: et 4 Vocum
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|17
|Fantasia Super ut re mi fa.sol.la. A. 3. Vocum
|
|
|
|}

After the publishing of 8 more works in Lynar B 2 by [[Pieter Dirksen]] in 1991, two works remain unpublished. The ''Fuga Cromatico'' and ''Fantasia Super ut re mi fa.sol.la.'' were described as "a brief composition employing imitation and simple chromatic lines" and "a pedantic, three-part hexachordal settings, in which the sogetto appears in the bass thirteen times in exactly the same form, constantly alternating between entries on c and G" respectively.

The setting of ''O God die onse Vader bist'' can for now be securely attributed to Sweelinck on the basis of the cantus firmus being a Dutch psalm in addition to stylistic features. Similarly, the setting of Psalm 23 can also be attributed to him, especially based on the similarities to Sweelinck's composition on Psalm 116 (which can be found in other manuscripts).

Confusingly, the manuscript contains a piece titled "fantasia primi / Toni A 4" which is neither a fantasia nor in the first tone. In fact, it is a chorale setting of ''Nun komm, der Heiden Heiland.''

<score><< \relative g' { \clef "treble_8" g1 g f bes a g a g2 r4 g bes2 g a4 g f e d e f g a bes c a bes c d2~ d4 cis8 b cis2_"etc." } \\ \relative g { s1*7 g1 g f bes a g a } \\ \\ \relative g { r2 g bes c d4 c bes a g a bes c d e f d e f g2~4 fis8 e fis2 g d d4 c d e f g a g f e d e f g a f g a g f e2 a } >></score>

It is possible that this heading was written by a different copyist before this work was written at a later date. In any case, this work only uses the first (identical with the last) line of the chorale (which means that this work could be classified as a ''choral ricercare'' or ''choral fugue''), and the contrapuntal writing is strikingly plain and schematic. In fact, this piece has been described as containing a "peculiar monothematic compositional technique, which is probably unparalleled in the surviving corpus of seventeenth century choral settings."

According to [[Pieter Dirksen]], the chorale fantasia ''Ach Gott, vom Himmel sieh' darein'' stands apart from the other works in Lynar B 2, as it transmits a chorale fantasia in the fully mature form. An attribution to [[Heinrich Scheidemann]] is possible. He is the only composer who is known to have composed chorale fantasias before 1650 (actually, this piece was not copied at a later point than the rest of the manuscript, because the same hand can be identified in Lynar B 6 and 7, and the first scribe of the manuscript writes some of the piece). However, this attribution is not secured. Some features which appear in almost all chorale fantasias by Scheidemann such as ''the simpler 'echo' techniques like monodic right-hand echoes, antiphonal echoes or 'trio echoes''', are not found in this work. Also, as shown by [[Michael Belotti]], the practice of showing the Rückpositiv voice in the top line of the manuscript even when it is in the tenor is not found in Scheidemann's music, but it does appear in the Magnificat I. toni by Schildt in the second volume of the [[Zellerfeld Organ Tablatures]].<ref>DirksenScheidemann 114-115.</ref>

The setting of ''O Lux beata Trinitas'' appears to be a result of the early Sweelinck school based on some sixteenth-note figurations that can be found within it. However, it can not be found to be similar to any single composer on stylistic grounds. The ''cantus firmus'' appears in the tenor voice completely un-ornamented in long notes. This arrangement suggests that it can be played in pedal, but the voice rises up to f' which would require a 4-foot stop to be used on an organ with a 27-note pedalboard.

==== References ====
{{NdS2 2009}}

[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

Schierning, 32-34

{{RISM|466000013}}

<references />

=== Lynar B 3 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 3 | Deutsche Orgeltabulatur ca. 1630 | Genannt sind darin: H. Scheide- | mann, J. P. Sweelinck, David Abel, | Andr. Düben, M. D., Peter Hasse, | M. W. C. B. M.'' 
Ms. Lynar B 3. German organ tablature from around 1630. Contains: [[Heinrich Scheidemann]], [[Jan Pieterszoon Sweelinck]], [[David Abel]], [[Andreas Düben]], M. D., [[Peter Hasse]], [[M. W. C. B. M.]]</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 3|url=http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023|imslp=554336}}
----

The numbers are penciled in by a librarian (on the bottom right).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1r || [missing] || || Title is on missing verso side ||
|-
| 1r || Praeludium || || Piece continues on missing verso side. ||
|-
| 1v-2r || Praludium || || ||
|-
| 2v-3r || Praludium || || ||
|-
| 3v-4r || Praludium || || ||
|-
| 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || || ||
|-
| 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] 2 Variation 3 || ||
|-
| 6v-9r || Fantasia / J. P. || || ||
|-
| 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 10v-11r || Praludium / pedaliter || || ||
|-
| 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 12v-12ar || Praludium || || ||
|-
| 12av-13v || Praludium || || ||
|-
| 13v-14r || Praludium || || ||
|-
| 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 15v-18r || Fantasia || || ||
|-
| 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] ||
|-
| 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 25v-26r || Fuga || || ||
|-
| 26v-27r || Ricercar / primi Toni || || ||
|-
| 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 32v-33r || Praambulum / pedaliter || || ||
|-
| 33v-34r || Praambulum / pedaliter || || ||
|-
| 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 36v-37r || Praludium / Pedaliter || || ||
|-
| 37v-38r || Praludium / M. D. O || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 39v- || Praludium / pedaliter || || Fragment ||
|}

==== References ====
{{RISM|466000011}}

<references />

=== Lynar B 4 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 4 | Deutsche Orgeltabulatur ca. 1630. | Genannt nur J. P. Sweelinck, | sonst anonyme Stücke. '' 
Ms. Lynar B 4. German organ tablature from around 1630. Containing pieces by only [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 4|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438100000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

The page numbers (instead of folios) have been penciled in by a librarian.

==== Contents ====

This manuscript contains four pieces:

{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 4
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1-3 || In dich hab / ich gehoffet / Herr / auf 2 Clavier / Manualiter || <score><< \relative d' { \clef alto \time 4/2 d1 d2 a' e g } \\ \relative d { r2 d2. e4 f g a8 b c d e2.*2/3 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 4-9 || Jesus Christus / unser Heylandt / auf 2 Clavier / pedaliter || <score><< \relative a { \clef alto \time 4/2 a1 d d2 cis d a4. b8 c2 c } \\ \relative d { R\breve r1 r2 d a'1 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 10-11 || Fantasia / M. J. P. || <score><< \relative d' { R\breve R\breve r2 d } \\ \relative d' { \clef alto \time 4/2 d1 d2 d c bes a1 g2. a4 } >></score> || [[Jan Pieterszoon Sweelinck]] ||
|-
| 14-17 || Fantasia / A 3 Vocum / Transpon: per 4 toni || <score>\relative b' { \time 4/2 b1 b2 b a c b4 a g fis }</score> || ||
|}

Only one piece contains an attribution, the initials M. J. P. (=[[Jan Pieterszoon Sweelinck]]). However, all four pieces can be accounted for based on concordances found elsewhere. The first piece appears in [[D-Lr Mus.ant.pract. K.N. 208/1]] titled ''In dich hab ich gehoffet H.S.M.'', linking the piece to [[Heinrich Scheidemann]] (WV 8<ref name="dirksen">DirksenScheidemann, xviii.</ref>). The second piece is also composed by Scheidemann based on concordances in [[Zellerfeld Organ Tablatures]] vol.1 and the [[Pelplin Tablatures]] (WV 10).<ref name="dirksen"></ref> The fourth piece is a transposed parody of the [[Samuel Scheidt]] ''Tabulatura Nova'', vol. 2 no.6 (the composer of the parody is unknown).

==== References ====
{{RISM|1001048776}}

Schierning, 31.

<references />

=== Lynar B 5 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 5 | Deutsche Orgeltabulatur ca. 1630 | Darin 1 Choralbearbeitung von | Jakob Praetorius (unvollständig)'' 
Ms. Lynar B 5. German organ tablature from around 1630. Contains one choral work from [[Jacob Praetorius]] (incomplete).</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 5|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438200000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:PPN1032686251 00000006.jpg|thumb|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]
This manuscript contains one piece, a fragment of a [[Chorale Fantasia]] ''Durch Adams Fall ist ganz verderbt'' auff 3 clavier by [[Jakob Praetorius]]. The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''<ref>[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.</ref>.

==== References ====
{{RISM|1001048780}}

Schierning, 37-38.

<references />

=== Lynar B 6 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 6 | Deutsche Orgeltabulatur ca. 1630 | Enthält 1 Toccata von Heinrich | Scheidemann'' 
Ms. Lynar B 6. German organ tablature from around 1630. Contains one toccata by [[Heinrich Scheidemann]].</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 6|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438300000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 6''' contains a manualiter Toccata auf 2 clavir (WV 43) by [[Heinrich Scheidemann]] on 10 pages.

An autograph manuscript of this piece has been discovered in [[D-W Cod. Guelf. 8 Noviss. 2/o]]. Besides this, copies are also found in many other manuscripts including the first volume of the [[Zellerfeld Tablatures]], [[D-W Ms. 227]], and various different (corrupted) forms in [[D-Lr Mus.ant.pract. K.N. 208-1]] and [[D-Lr Mus.ant.pract. K.N. 209|209]], and [[D-B Am.B 340]] (the last three manuscripts transmit the piece in a "pedaliter version" and are assigned WV number 43a by Dirksen).

Before the discovery of the Wolfenbuttel manuscript, Breig stated that the copy in '''Ze 1''' is likely the most accurate.

==== References ====
{{RISM|1001048781}}

[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft 3. Wiesbaden: Franz Steiner, 1967. 87-93, 108.

DirksenScheidemann xvii, 3-5.

<references />

=== Lynar B 7 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 7 | Deutsche Orgeltabulatur ca. 1640. | Enthält Psalmen und Choräle, alle anonym'' 
Ms. Lynar B 7. German organ tablature from around 1640. Contains psalms and chorales, all anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 7|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438500000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:Lubbenauer.jpg|right|thumb|The heading to Psalm 100 in Lynar B 7]]
Ms. Lynar B 7 consists of single- and multi-verse settings of various Genevan psalms and the chorale ''Erhalt uns, Herr, bei deinem Wort''.

This manuscript was published by [[Pieter Dirksen]] in 1996.

==== Description ====
The header of each piece is stylized by a three-pronged symbol followed by the number of the psalm. Some verses are also marked "3 voci" or "Corall in tenor" for example.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 7
|-
! fol. !! Title !! Incipit !! Notes
|-
| {{TT|1r-2r}} || P 66 || <score>{ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }</score> 2. V. <score>{ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }</score> ||
|-
| {{TT|2v-3r}} || P 5 || <score>{ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }</score> 2 Vari / in Basso <score>{ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }</score> 3 V. / im Tenor <score>{ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }</score> ||
|-
| {{TT|3v-5r}} || P 116 || <score>{ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }</score> 2 Vari: <score>{ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }</score> 3. Vari / Corahll in / Tenor <score>{ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }</score> 4 Variatio / a 4 <score>{ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }</score> ||
|-
| {{TT|5v-7r}} || P 100 || <score>{ \time 4/2 \clef alto << \relative a' { a1 b g2 c2*1/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g2*1/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }</score> [2 V] <score>{ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }</score> 3 variation <score>{ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }</score> [4 V] <score>{ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }</score> || Written in second hand
|-
| {{TT|6v-7r}} || Erhalt uns / Herr beij / deinen wortt || <score>{ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }</score> 2 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }</score> 3 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2*1/2 } \\ \relative ees { ees8 d c b r c b a g2*1/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }</score> || Written in second hand
|-
| {{TT|7v-8r}} || P 24 || <score>{ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }</score> 2 V. / a 3 <score>{ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }</score> ||
|}

==== Analysis ====
Dirksen states that the pieces in this manuscript can be conclusively connected with the Netherlands. While such psalm variations (and the psalm melodies themselves) are ''wholly unknown'' in Germany, they were abundantly found in the Netherlands, always in ''variation'' form (instead of German forms such as the [[Chorale Fantasia]]).

According to Dirksen, the five psalm melodies found in '''Ms. Lynar B 7''' were the most popular melodies from the Genevan Psalter during this time period.

The psalm variations ''are marked by a great unity of style''. On the other hand, the setting of ''Erhalt uns, Herr, bei deinem Wort'' is found to be slightly more sophisticated, and it has more rhythmic and harmonic variety. The compositions share a number of recurring musical patterns with pieces by [[Jan Pieterszoon Sweelinck]], but the pieces are too conservative in character to have been composed by him. They were likely written by another composer who lived around the same time. They were probably brought to the German-speaking lands by a student of Sweelinck who copied them into tablature notation.

==== References ====
{{RISM|1001048782}}

[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996.

<references />

=== Lynar B 8 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 8 | Deutsche Orgeltabulatur ca. 1630. | darin der Siefertschüler Andreas | Neunaber vertreten'' 
Ms. Lynar B 8. German organ tablature from around 1630, containing [[Andreas Neunhaber]], the student of Siefert.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 8|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains two pieces, "Ich ruff zu / dir herr / Jesu Christ / auff 2. clavier" and "Alio modo / auff 2. und 3. / Clavir, und auff der / Pedal zu gebrauch: / Anton Neunhaber." These are thought to be two verses of the same piece by [[Andreas Neunhaber]] (Max Seiffert made the connection from Anton -> Andreas Neunhaber).

==== Description ====
Unlike all of the other Lynar B tablatures, this manuscript splits the octave at 'h' instead of 'c'.

[[Lydia Schierning]] said that Neunhaber was only the composer of the second piece and that it is possible the scribe was planning to create a larger compilation of chorale settings on this chorale tune by different composers.

The second piece is in five voices and has detailed manual change indications written into the tablature.<ref>[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.</ref>

==== Contents ====
<score><<
\new Staff \relative a' { \mark "1" \time 4/2 r2 a f4 e8 f g4 f8 g f8 g f e d c d e f16 e f g f g a f g f g a g a bes g a1 }
\new Staff \with { \clef bass } << \relative f { f1 a2 c a bes a e f4 d2 cis4 } \\ \relative d { d1 d2 e f g d c f,4. g8 a2 } >>
>></score>

<score><<
\new Staff \relative a' { \mark "2" \time 4/2 r1 r1 r1 a f2 g f8 g e f d g d e }
\new Staff \with { \clef bass } << \relative a { r1 r4 a f g f d f g f2 e d2. e4 a2 bes } \\ \relative a { r4 a f g f d d8 c bes4 a f a8 d bes c a4 d d cis d bes bes c d2 g } >>
>></score>

==== References ====
{{RISM|1001048783}}

Schierning, 39.

<references />

=== Lynar B 9 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 9 | Deutsche Orgeltabulatur ca. 1630 | 2 anonyme Praeludien.'' 
Ms. Lynar B 9. German organ tablature from around 1630. Two anonymous preludes.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 9|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438800000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

Both preludes were edited by [[Partitura Organum]] in 2019.

==== Description ====
Both preludes are typical of the north-German präludium.

Some notes are not visible on the edge of the left page.

==== Contents ====
[[File:Lynar b 9.jpg|thumb]]

<score><<
\new Staff << \relative e'' { \mark "Praeludium 1" e1 f2 e d4 e f2 e1 a,2. 4 a2 d~ d d c2 a4 b } \\ \relative a' { a1 a2 a a1 e2 e~ e4 e e2 f4 g a2~ a a a r2 } >>
\new Staff \with { \clef alto } << \relative cis' { cis1 d2 e f4 e d2 cis2 cis~4 4 2 d4 e f2~ f f e1 } \\ \relative a { a1 a2. 4 a1 a r1 r2 a~a a4 b c a c d } >>
\new Staff \with { \clef bass } \relative a, { \time 4/2 a1 d2 cis d1 a2 a'~ a4 a a2 d,2. e4 f d f g a1 }
>></score>

<score><<
\new Staff << \relative c'' { \mark "Praeludium 2" \time 4/2 c1 d4. ees8 d4 c bes2 bes~ bes4 c8 bes a4 g a1 } \\ \relative f' { f1 f f f f4 e8 d c4 d } >>
\new Staff \with { \clef bass } << \relative a { a1 bes2 bes4 c d1 c2. bes4 c2 a4 bes } \\ \relative f { f1 bes, bes4 c d e f1 f } >>
>></score>

==== Scores ====
'''Prelude 1:''' [https://partitura.org/index.php/anonymus-praeludium/ partitura.org], 31 October, 2019. ([https://partitura.org/wp-content/uploads/2019/10/Anonymus-Lynar-B9-Praeludium-1.pdf Score]) Accessed 14 January, 2023.

'''Prelude 2:''' [https://partitura.org/index.php/anonymus-praeludium-2/ partitura.org], 5 November, 2019. ([https://partitura.org/wp-content/uploads/2019/11/Anonymus-Lynar-B9-Praeludium-2.pdf Score]) Accessed 14 January, 2023.

==== References ====
{{RISM|1001048784}}

Schierning, 39.

<references />

=== Lynar B 10 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 10 | Deutsche Orgeltabulatur ca. 1640. | Inhalt 1 anonyme Choralbearbeitung'' 
Ms. Lynar B 10. German organ tablature from around 1640. Contains one anonymous choral work.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 10|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438900000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains one piece, anonymous ''Sei nun wieder zufrieden'' a 3. The composition ends after the first system on the third page, the final symbol is a cut time signature.

The texture of the piece is very odd compared to all the other pieces contained in the Lynar Tablatures.

<score><<
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor g1 a2 bes2 bes c d d r r d d d4. g,8 c2. c4 | bes1 bes2 bes1 a2 bes1 r2 R1. R1. R1. r2 f' ees }
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor R1. g1 a2 bes2 bes c d bes bes bes a2. a4 bes2. c4 d2 c2 c1 bes2 bes c d2. ees4 c2 bes2 bes r2 R1. r2 d c }
\new Staff \with { \clef bass } \relative g { \time 3/2 \key g \minor g1 f2 ees1 c2 bes1 a4 g f2 g d ees f1 g2. a4 bes2 ees,2 f1 bes2 bes' a g g, a bes bes c d2. ees4 f2 | bes1 c2 }
>></score>

Actually, it appears that it is an intabulation of a cantata instead of an original organ piece (Scierning says that it seems to have been written for two sopranos and basso continuo).

The title is from Psalm 116, verse 7.

==== References ====
{{RISM|1001048785}}

Scierning, 106

<references />

=== Lynar C ===
'''Lynar C''' (also called C 1 or B 11{{Citation needed}})contains anonymous polyphonic settings of the 150 genevan psalms (actually only 124 settings, because of the reuse of psalm tunes). It is written on 119 sheets in [[New German Tablature Notation]].

The settings are extremely simple. It appears that this was a psalm-book that used privately by people gathered together, who would sing the psalms, or play them on all different instruments, at social gatherings (or it was a copy of this type of book).

''The current status of '''Ms. Lynar C''' is not clear. It is not found in the [https://stabikat.de] database under the shelfmark "Ms. Lynar C" or "Lynar B 11"<ref>See [https://stabikat.de/Search/Results?lookfor=ms.+lynar*&type=ShelfMark&limit=20], accessed 31 October, 2023.</ref>.''

==== References ====
Schierning, 106-109.

<references />

[[Category:Manuscripts|Lynar]]
[[Category:Tablatures|Lynar]]
[[Category:German manuscripts|Lynar]]

Lynar Tablatures

2024-04-28T22:51:26Z

WillsSchoolAccount: /* References */ Remove citation which is included on RISM by mistake. This manuscript is not mentioned there.

The '''Lynar tablatures''' are a collection of manuscripts that are currently held in the Staatsbibliothek, Berlin. It has been interpreted as one of the most important sources for the works of the North-German pupils of [[Jan Pieterszoon Sweelinck]].

With a few exceptions, the Lynar Tablatures exclusively transmit keyboard music, mostly for organ. The exceptions are one manuscript which appears to contain an [[Intabulation]] of a cantata (see [[#Lynar B 10|B 10]]) and another which appears to be transcribed from a psalm part book ([[#Lynar C|C]]).

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Overtime, many of the other anonymous compositions have been linked to composers based on concordances and stylistic analysis.

The Lynar Tablatures themselves (as well as the pieces within) have been covered in-depth by many musicologists, including [[Lydia Schierning]] in her extensive book on manuscripts of german early keyboard music, and [[Pieter Dirksen]] in various books and publications.

All of the Lynar Tablatures except B 2 and C 1 are already digitized. However, it appears that B 2 is currently being digitized'''<nowiki>[as of September, 2023]</nowiki>'''<ref>[https://stabikat.de/Record/671441701 stabikat.de], accessed 24 September, 2023. -> "Online-Zugang": ''Das Werk, das Sie suchen, befindet sich aktuell in der Digitalisierung. ''</ref>.

== History<ref>[[Hans Schnieders|Schnieders, Hans]], "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [https://archiv.ub.uni-heidelberg.de/volltextserver/12663/1/Schnieders_2011.pdf], accessed 15 September, 2023. 2.15 Lynar A1</ref> ==
The first Lynar tablatures that were known to musicologists were the '''A 1''' and '''A 2''' manuscripts. These two manuscripts had copies made of them in the middle of the 19th century. Later in the 19th century both manuscripts went missing (In the 1894 edition of keyboard works of Sweelinck, [[Max Seiffert]] could only rely on the 1841 copy). However, the "A" manuscripts were fortunately found in 1920, and around this time the 11 manuscripts in tablature notation were discovered by [[Rochus Friedrich zu Lynar]]. All 13 manuscripts were collected and stored in the Spreewald museum in Lübbenau-Lehde. In 1933<ref>[[Max Seiffert|Seiffert, Max]] (editor), ''Sweelinck: Werken voor Orgel en Clavecimbel.'' Amsterdam: G. Alsbach & Co., 1942. xlvi</ref> [[Max Seiffert]] inspected the manuscripts and assigned the shelfmarks starting with A (referring to staff notation) and B (tablature notation). The description penciled on the front of each manuscript is written by Seiffert.

<blockquote>The Lynar B collection of tablatures was discovered more recently. They were found during the reorganization of the castle papers for removal to a newly founded city museum in the 1920s. According to [[Hans Joachim Moser]], the first musicologist to see them, they consisted of nothing but a ''large, disordered pile of paper–partly gathered in bundles, partly consisting of loose sheets and notated in organ tablature.''<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. V</ref></blockquote>

In 1956, the manuscripts were moved to the ''Staadtsbibliothek'', Berlin, retaining their previous shelfmarks.

== Description ==
According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized '''Ms. Lynar A 1''', '''Ms. Lynar B 2''', etc.

The "A" tablatures are in various types of staff notation, and the "B" (and "C") tablatures are in [[New German Tablature Notation]].

== Analysis ==
=== Lynar A Tablatures ===
<blockquote>...the Lynar A manuscripts must be particularly close to Sweelinck's autographs, if not actually copied directly from them–which seems not only to hold for the large collection of Sweelinck pieces themselves (in Lynar A 1) but for much of the remaining content as well, including the large virginalist section in LyA2.<ref>DirksenScheidemann, 144-145.</ref></blockquote>

=== Lynar B Tablatures ===

==== [[Pieter Dirksen]]<ref name="dirksen">DirksenScheidemann, 9-10.</ref> ====
<blockquote>The Lynar B tablatures as a whole must now be seen as a closely connected series of sources which probably actually originated within the North German Sweelinck school, going back directly to one of the North German Sweelinck pupils.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII</ref></blockquote>

The Lynar B tablatures have proven valuable as a source of works from the North-German Sweelinck school as well as from Sweelinck himself, as thirteen works (including 10 not known from any other source) by him are found within.

Dirksen interprets the 11 "B" tablatures as forming a unified whole because (among other reasons) it can be identified that some of the unknown copyists wrote more than one manuscript each.

As for the originating location of the manuscripts, the area of Gdańsk (german: Danzig) was theorized based on the inclusion of pieces by [[Paul Siefert]] and [[Andreas Neunhaber]]. Similarly based on circumstantial evidence, the manuscripts can be dated to around the 1620s (even though some pieces within can be dated to later). One date found within the manuscript, 1628, also suggests this.

Dirksen notes that the works by Sweelinck must have been transcribed from Anglo-Dutch staff notation to [[New German Tablature Notation]].

== References ==
[[Pieter Dirksen|Dirksen, Pieter]]. ''The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence.'' Muziekhistorische Monografieen, vol. 15. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997. ("DirksenSweelinck")

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. ("DirksenScheidemann")

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

<references />

== Contents ==
=== Lynar A 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar A 1 | Jugendautograph des Hamburger | Organisten Matthias Weckmann | (1620-1674), begonnen 1637 in Ham- | burg. Niederländische Tabulatur auf | 2 x 6 Linien. | Inhalt Kompositionen von | Jan Pieters Sweelinck, Christian | Erbach, Gio. Gabrieli, Peter Philipps, | John Bull, Gilles Farnaby, L. Wood- | sen, La Barre, Gautier, Ballard, | M. Weckmann, Pieter Cornet.'' Ms. Lynar A 1: Young autograph by the Hamburg organist [[Matthias Weckmann]] (1620-1674), begun in 1637 in Hamburg. Dutch tablature on 2x6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000031.jpg|thumb|Toccata by Sweelinck in Lynar A 1]]
'''Ms. Lynar A 1''' is a manuscript in Dutch 6-line staff notation. It contains 81 keyboard pieces. It is one of the first manuscripts to be known to early musicologists and has been called "the primary source for the keyboard music of [[Jan Pieterszoon Sweelinck]]"<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm variations from Lynar B 7.'' Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. Page V.</ref>.

Despite going missing in the late 19th century, this manuscript has since been rediscovered.

Actually, the scribe of the manuscript is not [[Matthias Weckmann]] (like [[Max Seiffert]] said)<ref>Schierning, 78</ref><ref>DirksenSweelinck, 21</ref>.

==== Description ====
[[Max Seiffert]] said that the scribe of the manuscript was [[Matthias Weckmann]] while he was a student of [[Jakob Praetorius]].<ref>Schierning, 78</ref> One possible reason for this is that the manuscript was located in the Hamburg ''Universitätsbibliothek'' when it was inspected by him.<ref>Schierning, 78. ''Dieses Manuskript war bis zu seiner Vernichtung im letzten Krieg im Besitz der Hamburger Universitätsbibliothek...''</ref>

However, when comparing this manuscript with the [[Visby Tablature]], which was written in similar circumstances (by [[Berendt Petri]] while studying with [[Jakob Praetorius]]), the difference in repertoire can be seen. Actually, based on the use of the organ in North-Germany, Jakob Praetorius and his students would only have use for verses and variations on chorales, hymns, magnificats, motet intabulations and short preludiums.<ref>Schierning, 79</ref>. It seems unlikely that J. Praetorius would have changed his teaching (including choice of pieces) and at the same time it would not be usable for his student from Hamburg.<ref>Schierning, 79</ref> For this reason, a North-German origin of this manuscript (under the teaching of Jakob Praetorius) is doubtful.<ref>Schierning, 79. ''Diese Fragen werden kaum zu bejahen sein, somit ist eine norddeutsche Herkunft der Handschrift stark zu bezweifeln''</ref>

On the question of proximity to Autographs by Sweelinck, Pieter Dirksen says that the manuscript must have had an origin close to Sweelinck and his school, not only based on the selection of pieces included but also their high copying quality.

<blockquote>The Sweelinck pieces are copied with hardly any mistakes at all, and anyone who has worked with manuscript sources knows how rare such a state of affairs is.<ref>DirksenSweelinck 21.</ref></blockquote>

In addition, ''The scribe apparently had access to an exclusive strain of the Sweelinck transmission'',<ref>DirksenSweelinck 22.</ref> as many high-quality pieces (including ''Mein junges Leben hat ein End'') are included which would surely be copied by other scribes if they had access to them. Also, the staff notation layout (two staves with six lines each) and other aspects of the notation (including the ''musicality of the two hands over the two staves'') suggest a direct connection to Sweelinck autographs.<ref>DirksenSweelinck 22.</ref>

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 1<ref>DirksenSweelinck 656-658.</ref>
|-
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==== References ====
{{RISM|1001079614}}

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

=== Lynar A 2 ===
----
<blockquote>'''Seiffert:''' ''Italienisch-niederländische Tabulatur eines | süddeutschen Schreibers um 1610; 2 Systeme | 6 + 7 und 6 + 6 Linien. | Enthält Kompositionen von | Christian Erbach und der Engländer Will. | Byrd, Dr. Bull, Orlando Gibbons, | sowie einige von Gio. Gabrieli und Tarq. | Merula.'' Italian-Dutch tablature from south-German scribes from 1610; 2 systems, 6+7 and 6+6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0002915200000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671394380 00000020.jpg|thumb|A Canzona by [[Christian Erbach]] in Lynar A 2]]
'''Ms. Lynar A 2''' contains 42 [[Tasteninstrument]] pieces written in staff notation by [[Christian Erbach]], [[Giovanni Gabrieli]], [[Tarquinio Merula]], [[William Byrd]], [[John Bull]], and [[Orlando Gibbons]]. Unlike Lynar A 1, this manuscript doesn't contain any works by Sweelinck.<ref>DirksenSweelinck 21.</ref>

==== Description ====
The manuscript is written by multiple hands in "Italian-Dutch" staff notation. Some pieces are written on two 6-line staves, and some are written on one 6- and one 7-line staff. Each page is 35x24.5cm in size.

In the early 20th century, the first and last pages of the manuscript (probably not written on) were concealed by binding paper for preservation purposes.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
|-
| 35-36 || Canzon || || ||
|-
| 37-38 || Pavan / sz: ae: mpetze / William Bÿrde / Angloss || || ||
|-
| 39-40 || Galiardo / William Bÿrde || || ||
|-
| 41-42 || Galliardo / Orlando Gibbons || || ||
|-
| 43-44 || Pavana. / The Earle / of Salisburÿ / William birde || || ||
|-
| 43-44 || Preludium / Doctor Bull || || ||
|-
| 43-44 || Galliardo || || ||
|-
| 43-44 || Galiardo Secundo / Miss Matye Brosonlo / William Birde || || ||
|-
| 45-46 || Preludium / Orlando Gibbons || || ||
|-
| 47-48 || Galliardo / Orlando Gibbons || || ||
|-
| 49-50 || Galliardo / Orlado Gibbons || || End: ''Finis Coronat / O Puc'' ||
|-
| 51-52 || Galliardo / orlando gibbons || || ||
|-
| 53-58 || ''[no title]'' || || 13 variations ||
|-
| 58 || ''[no title]'' || || ||
|-
| 59-62 || A. Voluntarge / M. Bird || || ||
|-
| 63-66 || Tantasia / M. Bird || || ||
|}

==== References ====
{{RISM|1001079620}}

Schierning, 81-84.

<references />

===Lynar B 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 1 | Deutsche Orgeltabulatur vom 1. Drittel | des 17. Jhdt. | Enthält Kompositionen von | J. P. Sweelinck, Paul Siefert, | Andr. Düben, Jak.Prätorius, Peter | Hasse, Gottfr. Scheidt, Samuel Scheidt | W. Karges, D. H. und M. D.'' 
Ms. Lynar B 1; German tablature from the first 3rd of the 17th century. Contains compositions frome [[Jan Pieterszoon Sweelinck]], [[Paul Siefert]], [[Andreas Düben]], [[Jacob Praetorius]], [[Peter Hasse]], [[Gottfried Scheidt]], [[Samuel Scheidt]], [[Wilhelm Karges]], D. H. and M. D.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 1|url=http://resolver.staatsbibliothek-berlin.de/SBB000253A600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 1''' contains 71 pages. Among other things, it contains a compilation of settings of ''Allein Gott in der Höh sey Ehr'' by different composers.
{| class="wikitable mw-collapsible"
|+Works in D-B Mus. Ms. Lynar B 1
!No.
!Title
!notes
|-
|1
|Fantasia Auff die manier von ein Echo. M. J. P. S.
|[[Jan Pieterszoon Sweelinck]]
|-
|2
|Puer natusin Bethlehem a Paulus Sivert
|[[Paul Siefert]]
|-
|3
|Nun komm der Heÿden Heÿlandt
|Paul Siefert?
|-
|4
|Nun Lobe meine Seele den Herren Auff 2 Clavir D. H.
|Düben?
|-
|5
|Wo Gott der Herr nicht beÿ unß Held auff 2 Clavir Andræ Duben
|[[Andreas Düben]]
|-
|6
|Allein Gott inn der Höh seÿ Ehr. M. J. P.
|Jan Pieterszoon Sweelinck
|-
|7
|Variatio Bicinium M. J. P.
|Jan Pieterszoon Sweelinck
|-
|8
|Variatio coral in Tenor M. J. P.
|Jan Pieterszoon Sweelinck
|-
|9
|Variatio coral in cantu 4 Vocum M. J. P.
|Jan Pieterszoon Sweelinck
|-
|10
|Variatio Choral in Cantu auff 2 Clavier A. Duben
|Andreas Düben
|-
|11
|Variatio choral in Basso A. D.
|Andreas Düben
|-
|12
|Variatio Choral in Bass M. Duben
|[[Martin Düben]]
|-
|13
|Variatio Choral in Baß 3 vocum
|
|-
|14
|Varatio
|
|-
|15
|Variatio Choral in Tenore 3 vocum P Hassen
|[[Petrus Hasse]]
|-
|16
|Variatio 3 Vocum Choral in Basso P. Hass
|Petrus Hasse
|-
|17
|Var. 12 G. S.
|[[Gottfried Scheidt]]
|-
|18
|Var. Choral in Cantu auff 2 Clav. G. S.
|Gottfried Scheidt
|-
|19
|4 vocum
|
|-
|20
|Variatio Zum Alt vndt Tenor muße nur Stimmen von 4 Fuß gezogen werden
|
|-
|21
|Variatio Choral in Cantu auf 2 Clav.
|
|-
|22
|Variatio Choral in Tenore
|
|-
|23
|Allein Gott in der Höh seÿ EHR: S. S.
|[[Samuel Scheidt]]
|-
|24
|Allein Gott â 3 Vocum Choral in Bass W. Karges
|[[Wilhelm Karges]]
|-
|25
|Erstanden ist der Heilige Christ M. D. Simpel - Auff 2. Clavir - Choral in Cantu auff 2. Clavier. - Coral in Basso 3. Voc:
|[[Martin Düben]]
|}

==== Analysis ====
===== Allein Gott in der Höh sei Ehr =====
One of the striking features of this manuscript is a cycle of chorale settings of ''Allein Gott in der Höh sei Ehr'' (with continually incrementing variation number), with some attributed to different composers and others left anonymous.

Theories have surrounded the reasoning for these compositions to have been included together. [[Max Seiffert]] said that they could have been composed by Sweelinck and his pupils together as one complete work. However, this was rejected by [[Margarete Reimann]], who said that it was simply compiled by someone else, perhaps the scribe of '''Ms. Lynar B 1'''. However, [[Pieter Dirksen]] states that the true facts may not be so simple. For instance, many of the variations form strong variation cycles themselves, such as the first few variations by Sweelinck. After these, the rest are more reminiscent of contrapuntal excercises, but several of the anonymous variations have stylistic similarities with each other, and it is possible that they were composed by the same person.

It was noted that variation 15 is a transposed copy of variation 7 (this was pointed out by [[Gisela Gerdes]].

==== References ====
[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Orgelmusik av familjen Düben''. Stockholm: Runa Nototext, 1996. xxi-xxii.

{{NdS2 2009}}

{{RISM|1001048774}}

Schierning, 32-34

<references />

===Lynar B 2===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 2 | Deutsche Orgeltabulatur ca. 1630 | Darin genannt Melchior Schildt | und J. P. Sweelinck, sonst alles anonyme Stücke'' 
Ms. Lynar B 2; German organ tablature from around 1630. Within it are pieces by [[Melchior Schildt]] and [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>
----

====Description====
'''Lynar B 2''' is a folio volume over 30 pages.

It doesn't contain any clues as to its origin, copyist, or date. Some theories include that it was compiled in North Germany around 1620-1630 or by [[Melchior Schildt]] while he was in Copenhagen around 1626-1629. However, different hands can be identified as having copied different pieces in the manuscript, so it may have been compiled over a longer period of time.

The tablature contains only fantasias and chorale/psalm settings. Of the 17 pieces contained within, two are headed by initials which give a hint to the composer. Of the rest, three more can be identified based on concordances with other manuscripts. The composers of these five works are [[Jan Pieterszoon Sweelinck]], [[Melchior Schildt]] and [[Heinrich Scheidemann]]. The rest of these pieces remain anonymous, but can be attributed to various composers on stylistic grounds.

==== Works ====
{| class="wikitable mw-collapsible"
|+Works in D-B Ms. Lynar B 2<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
!No.
!Title
!notes
!Incipit
!Ref.
|-
|1
|[Fanta]sia [mit B]indungen
|Jan Pieterszoon Sweelinck
|
|
|-
|2
|Fantasia A 4
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|3
|fantasia primi Toni A 4
|Nun komm der Heiden Heiland
|<score><< \relative g' { g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >></score>
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|4
|ach Gott vom him: mel sieh darein.
|[[Heinrich Scheidemann]]?
|<score><< \relative a' { \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >></score>
|<ref name="dirkb2"></ref>
|-
|5
|Herr Christ der Einig Gottes Sohn… M.S
|[[Melchior Schildt]]
|
|
|-
|6
|Wie schön leucht unß der Morgenstern
|
|1 variation <score><< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >></score> 2 variatio <score>\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }</score> 3 variatio <score><< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >></score> 4 variatio <score><< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >></score> 5 variatio <score><< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >></score>
|<ref name="dirkb2"></ref>
|-
|7
|Nun freut euch lieben Christen gmein
|
|1 variatio <score><< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >></score> 2 variatio <score><< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>></score> 3 variatio <score>\relative bes { \clef alto \key f \major bes1 bes2 d c bes }</score> 4 variatio <score><< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >></score> 5 variatio <score><< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >></score>
|<ref name="dirkb2"></ref>
|-
|8
|psalm 116 J. P.
|Jan Pieterszoon Sweelinck
|
|
|-
|9
|O Lux Beata Trinitas:
|
| <score><< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>></score>
|<ref name="dirkb2"></ref>
|-
|10
|psalm 60 A 2
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|11
|O Gott du unser Vater bist
|Anonymus: Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >></score> 2 variatio <score><<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>></score> 3 variatio <score><< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >></score>
|<ref name="dirkb2"></ref>
|-
|12
|P 23 Mein hütter Undt mein hirtt
|Anonymus: Jan Pieterszoon Sweelinck
|<score><< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >></score>
|<ref name="dirkb2"></ref>
|-
|13
|die 10 Gebott Gottes
|Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >></score> 2 variatio <score><< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >></score> 3 variatio <score><< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> } >></score> 4 variatio <score><< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >></score>
|<ref name="dirkb2"></ref>
|-
|14
|Es spricht den unweisen Mundt woll
|Heinrich Scheidemann
|
|
|-
|15
|Fuga Cromatico ex D.la.sol.re.
|
|
|
|-
|16
|Fantasia A. 2: 3: et 4 Vocum
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|17
|Fantasia Super ut re mi fa.sol.la. A. 3. Vocum
|
|
|
|}

After the publishing of 8 more works in Lynar B 2 by [[Pieter Dirksen]] in 1991, two works remain unpublished. The ''Fuga Cromatico'' and ''Fantasia Super ut re mi fa.sol.la.'' were described as "a brief composition employing imitation and simple chromatic lines" and "a pedantic, three-part hexachordal settings, in which the sogetto appears in the bass thirteen times in exactly the same form, constantly alternating between entries on c and G" respectively.

The setting of ''O God die onse Vader bist'' can for now be securely attributed to Sweelinck on the basis of the cantus firmus being a Dutch psalm in addition to stylistic features. Similarly, the setting of Psalm 23 can also be attributed to him, especially based on the similarities to Sweelinck's composition on Psalm 116 (which can be found in other manuscripts).

Confusingly, the manuscript contains a piece titled "fantasia primi / Toni A 4" which is neither a fantasia nor in the first tone. In fact, it is a chorale setting of ''Nun komm, der Heiden Heiland.''

<score><< \relative g' { \clef "treble_8" g1 g f bes a g a g2 r4 g bes2 g a4 g f e d e f g a bes c a bes c d2~ d4 cis8 b cis2_"etc." } \\ \relative g { s1*7 g1 g f bes a g a } \\ \\ \relative g { r2 g bes c d4 c bes a g a bes c d e f d e f g2~4 fis8 e fis2 g d d4 c d e f g a g f e d e f g a f g a g f e2 a } >></score>

It is possible that this heading was written by a different copyist before this work was written at a later date. In any case, this work only uses the first (identical with the last) line of the chorale (which means that this work could be classified as a ''choral ricercare'' or ''choral fugue''), and the contrapuntal writing is strikingly plain and schematic. In fact, this piece has been described as containing a "peculiar monothematic compositional technique, which is probably unparalleled in the surviving corpus of seventeenth century choral settings."

According to [[Pieter Dirksen]], the chorale fantasia ''Ach Gott, vom Himmel sieh' darein'' stands apart from the other works in Lynar B 2, as it transmits a chorale fantasia in the fully mature form. An attribution to [[Heinrich Scheidemann]] is possible. He is the only composer who is known to have composed chorale fantasias before 1650 (actually, this piece was not copied at a later point than the rest of the manuscript, because the same hand can be identified in Lynar B 6 and 7, and the first scribe of the manuscript writes some of the piece). However, this attribution is not secured. Some features which appear in almost all chorale fantasias by Scheidemann such as ''the simpler 'echo' techniques like monodic right-hand echoes, antiphonal echoes or 'trio echoes''', are not found in this work. Also, as shown by [[Michael Belotti]], the practice of showing the Rückpositiv voice in the top line of the manuscript even when it is in the tenor is not found in Scheidemann's music, but it does appear in the Magnificat I. toni by Schildt in the second volume of the [[Zellerfeld Organ Tablatures]].<ref>DirksenScheidemann 114-115.</ref>

The setting of ''O Lux beata Trinitas'' appears to be a result of the early Sweelinck school based on some sixteenth-note figurations that can be found within it. However, it can not be found to be similar to any single composer on stylistic grounds. The ''cantus firmus'' appears in the tenor voice completely un-ornamented in long notes. This arrangement suggests that it can be played in pedal, but the voice rises up to f' which would require a 4-foot stop to be used on an organ with a 27-note pedalboard.

==== References ====
{{NdS2 2009}}

[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

Schierning, 32-34

{{RISM|466000013}}

<references />

=== Lynar B 3 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 3 | Deutsche Orgeltabulatur ca. 1630 | Genannt sind darin: H. Scheide- | mann, J. P. Sweelinck, David Abel, | Andr. Düben, M. D., Peter Hasse, | M. W. C. B. M.'' 
Ms. Lynar B 3. German organ tablature from around 1630. Contains: [[Heinrich Scheidemann]], [[Jan Pieterszoon Sweelinck]], [[David Abel]], [[Andreas Düben]], M. D., [[Peter Hasse]], [[M. W. C. B. M.]]</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 3|url=http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023|imslp=554336}}
----

The numbers are penciled in by a librarian (on the bottom right).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1r || [missing] || || Title is on missing verso side ||
|-
| 1r || Praeludium || || Piece continues on missing verso side. ||
|-
| 1v-2r || Praludium || || ||
|-
| 2v-3r || Praludium || || ||
|-
| 3v-4r || Praludium || || ||
|-
| 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || || ||
|-
| 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] 2 Variation 3 || ||
|-
| 6v-9r || Fantasia / J. P. || || ||
|-
| 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 10v-11r || Praludium / pedaliter || || ||
|-
| 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 12v-12ar || Praludium || || ||
|-
| 12av-13v || Praludium || || ||
|-
| 13v-14r || Praludium || || ||
|-
| 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 15v-18r || Fantasia || || ||
|-
| 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] ||
|-
| 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 25v-26r || Fuga || || ||
|-
| 26v-27r || Ricercar / primi Toni || || ||
|-
| 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 32v-33r || Praambulum / pedaliter || || ||
|-
| 33v-34r || Praambulum / pedaliter || || ||
|-
| 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 36v-37r || Praludium / Pedaliter || || ||
|-
| 37v-38r || Praludium / M. D. O || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 39v- || Praludium / pedaliter || || Fragment ||
|}

==== References ====
{{RISM|466000011}}

<references />

=== Lynar B 4 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 4 | Deutsche Orgeltabulatur ca. 1630. | Genannt nur J. P. Sweelinck, | sonst anonyme Stücke. '' 
Ms. Lynar B 4. German organ tablature from around 1630. Containing pieces by only [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 4|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438100000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

The page numbers (instead of folios) have been penciled in by a librarian.

==== Contents ====

This manuscript contains four pieces:

{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 4
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1-3 || In dich hab / ich gehoffet / Herr / auf 2 Clavier / Manualiter || <score><< \relative d' { \clef alto \time 4/2 d1 d2 a' e g } \\ \relative d { r2 d2. e4 f g a8 b c d e2.*2/3 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 4-9 || Jesus Christus / unser Heylandt / auf 2 Clavier / pedaliter || <score><< \relative a { \clef alto \time 4/2 a1 d d2 cis d a4. b8 c2 c } \\ \relative d { R\breve r1 r2 d a'1 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 10-11 || Fantasia / M. J. P. || <score><< \relative d' { R\breve R\breve r2 d } \\ \relative d' { \clef alto \time 4/2 d1 d2 d c bes a1 g2. a4 } >></score> || [[Jan Pieterszoon Sweelinck]] ||
|-
| 14-17 || Fantasia / A 3 Vocum / Transpon: per 4 toni || <score>\relative b' { \time 4/2 b1 b2 b a c b4 a g fis }</score> || ||
|}

Only one piece contains an attribution, the initials M. J. P. (=[[Jan Pieterszoon Sweelinck]]). However, all four pieces can be accounted for based on concordances found elsewhere. The first piece appears in [[D-Lr Mus.ant.pract. K.N. 208/1]] titled ''In dich hab ich gehoffet H.S.M.'', linking the piece to [[Heinrich Scheidemann]] (WV 8<ref name="dirksen">DirksenScheidemann, xviii.</ref>). The second piece is also composed by Scheidemann based on concordances in [[Zellerfeld Organ Tablatures]] vol.1 and the [[Pelplin Tablatures]] (WV 10).<ref name="dirksen"></ref> The fourth piece is a transposed parody of the [[Samuel Scheidt]] ''Tabulatura Nova'', vol. 2 no.6 (the composer of the parody is unknown).

==== References ====
{{RISM|1001048776}}

Schierning, 31.

<references />

=== Lynar B 5 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 5 | Deutsche Orgeltabulatur ca. 1630 | Darin 1 Choralbearbeitung von | Jakob Praetorius (unvollständig)'' 
Ms. Lynar B 5. German organ tablature from around 1630. Contains one choral work from [[Jacob Praetorius]] (incomplete).</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 5|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438200000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:PPN1032686251 00000006.jpg|thumb|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]
This manuscript contains one piece, a fragment of a [[Chorale Fantasia]] ''Durch Adams Fall ist ganz verderbt'' auff 3 clavier by [[Jakob Praetorius]]. The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''<ref>[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.</ref>.

==== References ====
{{RISM|1001048780}}

Schierning, 37-38.

<references />

=== Lynar B 6 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 6 | Deutsche Orgeltabulatur ca. 1630 | Enthält 1 Toccata von Heinrich | Scheidemann'' 
Ms. Lynar B 6. German organ tablature from around 1630. Contains one toccata by [[Heinrich Scheidemann]].</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 6|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438300000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 6''' contains a manualiter Toccata auf 2 clavir (WV 43) by [[Heinrich Scheidemann]] on 10 pages.

An autograph manuscript of this piece has been discovered in [[D-W Cod. Guelf. 8 Noviss. 2/o]]. Besides this, copies are also found in many other manuscripts including the first volume of the [[Zellerfeld Tablatures]], [[D-W Ms. 227]], and various different (corrupted) forms in [[D-Lr Mus.ant.pract. K.N. 208-1]] and [[D-Lr Mus.ant.pract. K.N. 209|209]], and [[D-B Am.B 340]] (the last three manuscripts transmit the piece in a "pedaliter version" and are assigned WV number 43a by Dirksen).

Before the discovery of the Wolfenbuttel manuscript, Breig stated that the copy in '''Ze 1''' is likely the most accurate.

==== References ====
{{RISM|1001048781}}

[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft 3. Wiesbaden: Franz Steiner, 1967. 87-93, 108.

DirksenScheidemann xvii, 3-5.

<references />

=== Lynar B 7 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 7 | Deutsche Orgeltabulatur ca. 1640. | Enthält Psalmen und Choräle, alle anonym'' 
Ms. Lynar B 7. German organ tablature from around 1640. Contains psalms and chorales, all anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 7|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438500000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:Lubbenauer.jpg|right|thumb|The heading to Psalm 100 in Lynar B 7]]
Ms. Lynar B 7 consists of single- and multi-verse settings of various Genevan psalms and the chorale ''Erhalt uns, Herr, bei deinem Wort''.

This manuscript was published by [[Pieter Dirksen]] in 1996.

==== Description ====
The header of each piece is stylized by a three-pronged symbol followed by the number of the psalm. Some verses are also marked "3 voci" or "Corall in tenor" for example.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 7
|-
! fol. !! Title !! Incipit !! Notes
|-
| {{TT|1r-2r}} || P 66 || <score>{ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }</score> 2. V. <score>{ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }</score> ||
|-
| {{TT|2v-3r}} || P 5 || <score>{ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }</score> 2 Vari / in Basso <score>{ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }</score> 3 V. / im Tenor <score>{ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }</score> ||
|-
| {{TT|3v-5r}} || P 116 || <score>{ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }</score> 2 Vari: <score>{ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }</score> 3. Vari / Corahll in / Tenor <score>{ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }</score> 4 Variatio / a 4 <score>{ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }</score> ||
|-
| {{TT|5v-7r}} || P 100 || <score>{ \time 4/2 \clef alto << \relative a' { a1 b g2 c2*1/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g2*1/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }</score> [2 V] <score>{ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }</score> 3 variation <score>{ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }</score> [4 V] <score>{ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }</score> || Written in second hand
|-
| {{TT|6v-7r}} || Erhalt uns / Herr beij / deinen wortt || <score>{ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }</score> 2 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }</score> 3 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2*1/2 } \\ \relative ees { ees8 d c b r c b a g2*1/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }</score> || Written in second hand
|-
| {{TT|7v-8r}} || P 24 || <score>{ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }</score> 2 V. / a 3 <score>{ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }</score> ||
|}

==== Analysis ====
Dirksen states that the pieces in this manuscript can be conclusively connected with the Netherlands. While such psalm variations (and the psalm melodies themselves) are ''wholly unknown'' in Germany, they were abundantly found in the Netherlands, always in ''variation'' form (instead of German forms such as the [[Chorale Fantasia]]).

According to Dirksen, the five psalm melodies found in '''Ms. Lynar B 7''' were the most popular melodies from the Genevan Psalter during this time period.

The psalm variations ''are marked by a great unity of style''. On the other hand, the setting of ''Erhalt uns, Herr, bei deinem Wort'' is found to be slightly more sophisticated, and it has more rhythmic and harmonic variety. The compositions share a number of recurring musical patterns with pieces by [[Jan Pieterszoon Sweelinck]], but the pieces are too conservative in character to have been composed by him. They were likely written by another composer who lived around the same time. They were probably brought to the German-speaking lands by a student of Sweelinck who copied them into tablature notation.

==== References ====
{{RISM|1001048782}}

[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996.

<references />

=== Lynar B 8 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 8 | Deutsche Orgeltabulatur ca. 1630. | darin der Siefertschüler Andreas | Neunaber vertreten'' 
Ms. Lynar B 8. German organ tablature from around 1630, containing [[Andreas Neunhaber]], the student of Siefert.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 8|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains two pieces, "Ich ruff zu / dir herr / Jesu Christ / auff 2. clavier" and "Alio modo / auff 2. und 3. / Clavir, und auff der / Pedal zu gebrauch: / Anton Neunhaber." These are thought to be two verses of the same piece by [[Andreas Neunhaber]] (Max Seiffert made the connection from Anton -> Andreas Neunhaber).

==== Description ====
Unlike all of the other Lynar B tablatures, this manuscript splits the octave at 'h' instead of 'c'.

[[Lydia Schierning]] said that Neunhaber was only the composer of the second piece and that it is possible the scribe was planning to create a larger compilation of chorale settings on this chorale tune by different composers.

The second piece is in five voices and has detailed manual change indications written into the tablature.<ref>[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.</ref>

==== Contents ====
<score><<
\new Staff \relative a' { \mark "1" \time 4/2 r2 a f4 e8 f g4 f8 g f8 g f e d c d e f16 e f g f g a f g f g a g a bes g a1 }
\new Staff \with { \clef bass } << \relative f { f1 a2 c a bes a e f4 d2 cis4 } \\ \relative d { d1 d2 e f g d c f,4. g8 a2 } >>
>></score>

<score><<
\new Staff \relative a' { \mark "2" \time 4/2 r1 r1 r1 a f2 g f8 g e f d g d e }
\new Staff \with { \clef bass } << \relative a { r1 r4 a f g f d f g f2 e d2. e4 a2 bes } \\ \relative a { r4 a f g f d d8 c bes4 a f a8 d bes c a4 d d cis d bes bes c d2 g } >>
>></score>

==== References ====
{{RISM|1001048783}}

Schierning, 39.

<references />

=== Lynar B 9 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 9 | Deutsche Orgeltabulatur ca. 1630 | 2 anonyme Praeludien.'' 
Ms. Lynar B 9. German organ tablature from around 1630. Two anonymous preludes.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 9|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438800000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

Both preludes were edited by [[Partitura Organum]] in 2019.

==== Description ====
Both preludes are typical of the north-German präludium.

Some notes are not visible on the edge of the left page.

==== Contents ====
[[File:Lynar b 9.jpg|thumb]]

<score><<
\new Staff << \relative e'' { \mark "Praeludium 1" e1 f2 e d4 e f2 e1 a,2. 4 a2 d~ d d c2 a4 b } \\ \relative a' { a1 a2 a a1 e2 e~ e4 e e2 f4 g a2~ a a a r2 } >>
\new Staff \with { \clef alto } << \relative cis' { cis1 d2 e f4 e d2 cis2 cis~4 4 2 d4 e f2~ f f e1 } \\ \relative a { a1 a2. 4 a1 a r1 r2 a~a a4 b c a c d } >>
\new Staff \with { \clef bass } \relative a, { \time 4/2 a1 d2 cis d1 a2 a'~ a4 a a2 d,2. e4 f d f g a1 }
>></score>

<score><<
\new Staff << \relative c'' { \mark "Praeludium 2" \time 4/2 c1 d4. ees8 d4 c bes2 bes~ bes4 c8 bes a4 g a1 } \\ \relative f' { f1 f f f f4 e8 d c4 d } >>
\new Staff \with { \clef bass } << \relative a { a1 bes2 bes4 c d1 c2. bes4 c2 a4 bes } \\ \relative f { f1 bes, bes4 c d e f1 f } >>
>></score>

==== Scores ====
'''Prelude 1:''' [https://partitura.org/index.php/anonymus-praeludium/ partitura.org], 31 October, 2019. ([https://partitura.org/wp-content/uploads/2019/10/Anonymus-Lynar-B9-Praeludium-1.pdf Score]) Accessed 14 January, 2023.

'''Prelude 2:''' [https://partitura.org/index.php/anonymus-praeludium-2/ partitura.org], 5 November, 2019. ([https://partitura.org/wp-content/uploads/2019/11/Anonymus-Lynar-B9-Praeludium-2.pdf Score]) Accessed 14 January, 2023.

==== References ====
{{RISM|1001048784}}

Schierning, 39.

<references />

=== Lynar B 10 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 10 | Deutsche Orgeltabulatur ca. 1640. | Inhalt 1 anonyme Choralbearbeitung'' 
Ms. Lynar B 10. German organ tablature from around 1640. Contains one anonymous choral work.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 10|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438900000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains one piece, anonymous ''Sei nun wieder zufrieden'' a 3. The composition ends after the first system on the third page, the final symbol is a cut time signature.

The texture of the piece is very odd compared to all the other pieces contained in the Lynar Tablatures.

<score><<
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor g1 a2 bes2 bes c d d r r d d d4. g,8 c2. c4 | bes1 bes2 bes1 a2 bes1 r2 R1. R1. R1. r2 f' ees }
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor R1. g1 a2 bes2 bes c d bes bes bes a2. a4 bes2. c4 d2 c2 c1 bes2 bes c d2. ees4 c2 bes2 bes r2 R1. r2 d c }
\new Staff \with { \clef bass } \relative g { \time 3/2 \key g \minor g1 f2 ees1 c2 bes1 a4 g f2 g d ees f1 g2. a4 bes2 ees,2 f1 bes2 bes' a g g, a bes bes c d2. ees4 f2 | bes1 c2 }
>></score>

Actually, it appears that it is an intabulation of a cantata instead of an original organ piece (Scierning says that it seems to have been written for two sopranos and basso continuo).

The title is from Psalm 116, verse 7.

==== References ====
{{RISM|1001048785}}

Scierning, 106

<references />

=== Lynar C ===
'''Lynar C''' (also called C 1 or B 11{{Citation needed}})contains anonymous polyphonic settings of the 150 genevan psalms (actually only 124 settings, because of the reuse of psalm tunes). It is written on 119 sheets in [[New German Tablature Notation]].

The settings are extremely simple. It appears that this was a psalm-book that used privately by people gathered together, who would sing the psalms, or play them on all different instruments, at social gatherings (or it was a copy of this type of book).

''The current status of '''Ms. Lynar C''' is not clear. It is not found in the [https://stabikat.de] database under the shelfmark "Ms. Lynar C" or "Lynar B 11"<ref>See [https://stabikat.de/Search/Results?lookfor=ms.+lynar*&type=ShelfMark&limit=20], accessed 31 October, 2023.</ref>.''

==== References ====
Schierning, 106-109.

<references />

[[Category:Manuscripts|Lynar]]
[[Category:Tablatures|Lynar]]
[[Category:German manuscripts|Lynar]]

Jan Adam Reincken

2024-04-28T22:50:24Z

WillsSchoolAccount: Redirected page to Jan Adams Reincken

#REDIRECT [[Jan Adams Reincken]]

Zellerfeld Organ Tablatures

2024-04-21T17:37:02Z

WillsSchoolAccount: Created page with "{{Stub}} == Links == {{OnlFac|sig=D-CZu Zellerfelder Orgeltabulatur 1|url=https://www.gbv.de/dms/clausthal/CALVOER/Calv_Ze1.pdf|urlc=www.gbv.de|date=21 April, 2024}} Category:ManuscriptsCategory:German ManuscriptsCategory:Baroque ManuscriptsCategory:GermanCategory:Baroque"

{{Stub}}

== Links ==
{{OnlFac|sig=D-CZu Zellerfelder Orgeltabulatur 1|url=https://www.gbv.de/dms/clausthal/CALVOER/Calv_Ze1.pdf|urlc=www.gbv.de|date=21 April, 2024}}

[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Baroque Manuscripts]][[Category:German]][[Category:Baroque]]

Heinrich Baltzer Wedemann

2024-03-07T17:59:07Z

WillsSchoolAccount: Created page with "'''Heinrich Baltzer Wedemann''' (1646-1718) was an organist living in Lüneburg. Now he is well-known as being the copyist for many of the Lüneburg Tablatures. {{Stub}} == References == {{RISM|pe30085654}} Wedemann, Heinrich Baltzer Wedemann, Heinrich Baltzer Wedemann, Heinrich Baltzer Wedemann, Heinrich Baltzer Wedemann, Heinrich Baltzer"

'''Heinrich Baltzer Wedemann''' (1646-1718) was an organist living in Lüneburg. Now he is well-known as being the copyist for many of the [[Lüneburg Tablatures]].

{{Stub}}

== References ==
{{RISM|pe30085654}}

[[Category:Organists|Wedemann, Heinrich Baltzer]]
[[Category:Baroque organists|Wedemann, Heinrich Baltzer]]
[[Category:German organists|Wedemann, Heinrich Baltzer]]
[[Category:Baroque|Wedemann, Heinrich Baltzer]]
[[Category:German|Wedemann, Heinrich Baltzer]]

Lynar Tablatures

2024-01-29T18:24:28Z

WillsSchoolAccount: /* Lynar B 4 */

The '''Lynar tablatures''' are a collection of manuscripts that are currently held in the Staatsbibliothek, Berlin. It has been interpreted as one of the most important sources for the works of the North-German pupils of [[Jan Pieterszoon Sweelinck]].

With a few exceptions, the Lynar Tablatures exclusively transmit keyboard music, mostly for organ. The exceptions are one manuscript which appears to contain an [[Intabulation]] of a cantata (see [[#Lynar B 10|B 10]]) and another which appears to be transcribed from a psalm part book ([[#Lynar C|C]]).

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Overtime, many of the other anonymous compositions have been linked to composers based on concordances and stylistic analysis.

The Lynar Tablatures themselves (as well as the pieces within) have been covered in-depth by many musicologists, including [[Lydia Schierning]] in her extensive book on manuscripts of german early keyboard music, and [[Pieter Dirksen]] in various books and publications.

All of the Lynar Tablatures except B 2 and C 1 are already digitized. However, it appears that B 2 is currently being digitized'''<nowiki>[as of September, 2023]</nowiki>'''<ref>[https://stabikat.de/Record/671441701 stabikat.de], accessed 24 September, 2023. -> "Online-Zugang": ''Das Werk, das Sie suchen, befindet sich aktuell in der Digitalisierung. ''</ref>.

== History<ref>[[Hans Schnieders|Schnieders, Hans]], "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [https://archiv.ub.uni-heidelberg.de/volltextserver/12663/1/Schnieders_2011.pdf], accessed 15 September, 2023. 2.15 Lynar A1</ref> ==
The first Lynar tablatures that were known to musicologists were the '''A 1''' and '''A 2''' manuscripts. These two manuscripts had copies made of them in the middle of the 19th century. Later in the 19th century both manuscripts went missing (In the 1894 edition of keyboard works of Sweelinck, [[Max Seiffert]] could only rely on the 1841 copy). However, the "A" manuscripts were fortunately found in 1920, and around this time the 11 manuscripts in tablature notation were discovered by [[Rochus Friedrich zu Lynar]]. All 13 manuscripts were collected and stored in the Spreewald museum in Lübbenau-Lehde. In 1933<ref>[[Max Seiffert|Seiffert, Max]] (editor), ''Sweelinck: Werken voor Orgel en Clavecimbel.'' Amsterdam: G. Alsbach & Co., 1942. xlvi</ref> [[Max Seiffert]] inspected the manuscripts and assigned the shelfmarks starting with A (referring to staff notation) and B (tablature notation). The description penciled on the front of each manuscript is written by Seiffert.

<blockquote>The Lynar B collection of tablatures was discovered more recently. They were found during the reorganization of the castle papers for removal to a newly founded city museum in the 1920s. According to [[Hans Joachim Moser]], the first musicologist to see them, they consisted of nothing but a ''large, disordered pile of paper–partly gathered in bundles, partly consisting of loose sheets and notated in organ tablature.''<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. V</ref></blockquote>

In 1956, the manuscripts were moved to the ''Staadtsbibliothek'', Berlin, retaining their previous shelfmarks.

== Description ==
According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized '''Ms. Lynar A 1''', '''Ms. Lynar B 2''', etc.

The "A" tablatures are in various types of staff notation, and the "B" (and "C") tablatures are in [[New German Tablature Notation]].

== Analysis ==
=== Lynar A Tablatures ===
<blockquote>...the Lynar A manuscripts must be particularly close to Sweelinck's autographs, if not actually copied directly from them–which seems not only to hold for the large collection of Sweelinck pieces themselves (in Lynar A 1) but for much of the remaining content as well, including the large virginalist section in LyA2.<ref>DirksenScheidemann, 144-145.</ref></blockquote>

=== Lynar B Tablatures ===

==== [[Pieter Dirksen]]<ref name="dirksen">DirksenScheidemann, 9-10.</ref> ====
<blockquote>The Lynar B tablatures as a whole must now be seen as a closely connected series of sources which probably actually originated within the North German Sweelinck school, going back directly to one of the North German Sweelinck pupils.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII</ref></blockquote>

The Lynar B tablatures have proven valuable as a source of works from the North-German Sweelinck school as well as from Sweelinck himself, as thirteen works (including 10 not known from any other source) by him are found within.

Dirksen interprets the 11 "B" tablatures as forming a unified whole because (among other reasons) it can be identified that some of the unknown copyists wrote more than one manuscript each.

As for the originating location of the manuscripts, the area of Gdańsk (german: Danzig) was theorized based on the inclusion of pieces by [[Paul Siefert]] and [[Andreas Neunhaber]]. Similarly based on circumstantial evidence, the manuscripts can be dated to around the 1620s (even though some pieces within can be dated to later). One date found within the manuscript, 1628, also suggests this.

Dirksen notes that the works by Sweelinck must have been transcribed from Anglo-Dutch staff notation to [[New German Tablature Notation]].

== References ==
[[Pieter Dirksen|Dirksen, Pieter]]. ''The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence.'' Muziekhistorische Monografieen, vol. 15. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997. ("DirksenSweelinck")

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. ("DirksenScheidemann")

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

<references />

== Contents ==
=== Lynar A 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar A 1 | Jugendautograph des Hamburger | Organisten Matthias Weckmann | (1620-1674), begonnen 1637 in Ham- | burg. Niederländische Tabulatur auf | 2 x 6 Linien. | Inhalt Kompositionen von | Jan Pieters Sweelinck, Christian | Erbach, Gio. Gabrieli, Peter Philipps, | John Bull, Gilles Farnaby, L. Wood- | sen, La Barre, Gautier, Ballard, | M. Weckmann, Pieter Cornet.'' Ms. Lynar A 1: Young autograph by the Hamburg organist [[Matthias Weckmann]] (1620-1674), begun in 1637 in Hamburg. Dutch tablature on 2x6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000031.jpg|thumb|Toccata by Sweelinck in Lynar A 1]]
'''Ms. Lynar A 1''' is a manuscript in Dutch 6-line staff notation. It contains 81 keyboard pieces. It is one of the first manuscripts to be known to early musicologists and has been called "the primary source for the keyboard music of [[Jan Pieterszoon Sweelinck]]"<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm variations from Lynar B 7.'' Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. Page V.</ref>.

Despite going missing in the late 19th century, this manuscript has since been rediscovered.

Actually, the scribe of the manuscript is not [[Matthias Weckmann]] (like [[Max Seiffert]] said)<ref>Schierning, 78</ref><ref>DirksenSweelinck, 21</ref>.

==== Description ====
[[Max Seiffert]] said that the scribe of the manuscript was [[Matthias Weckmann]] while he was a student of [[Jakob Praetorius]].<ref>Schierning, 78</ref> One possible reason for this is that the manuscript was located in the Hamburg ''Universitätsbibliothek'' when it was inspected by him.<ref>Schierning, 78. ''Dieses Manuskript war bis zu seiner Vernichtung im letzten Krieg im Besitz der Hamburger Universitätsbibliothek...''</ref>

However, when comparing this manuscript with the [[Visby Tablature]], which was written in similar circumstances (by [[Berendt Petri]] while studying with [[Jakob Praetorius]]), the difference in repertoire can be seen. Actually, based on the use of the organ in North-Germany, Jakob Praetorius and his students would only have use for verses and variations on chorales, hymns, magnificats, motet intabulations and short preludiums.<ref>Schierning, 79</ref>. It seems unlikely that J. Praetorius would have changed his teaching (including choice of pieces) and at the same time it would not be usable for his student from Hamburg.<ref>Schierning, 79</ref> For this reason, a North-German origin of this manuscript (under the teaching of Jakob Praetorius) is doubtful.<ref>Schierning, 79. ''Diese Fragen werden kaum zu bejahen sein, somit ist eine norddeutsche Herkunft der Handschrift stark zu bezweifeln''</ref>

On the question of proximity to Autographs by Sweelinck, Pieter Dirksen says that the manuscript must have had an origin close to Sweelinck and his school, not only based on the selection of pieces included but also their high copying quality.

<blockquote>The Sweelinck pieces are copied with hardly any mistakes at all, and anyone who has worked with manuscript sources knows how rare such a state of affairs is.<ref>DirksenSweelinck 21.</ref></blockquote>

In addition, ''The scribe apparently had access to an exclusive strain of the Sweelinck transmission'',<ref>DirksenSweelinck 22.</ref> as many high-quality pieces (including ''Mein junges Leben hat ein End'') are included which would surely be copied by other scribes if they had access to them. Also, the staff notation layout (two staves with six lines each) and other aspects of the notation (including the ''musicality of the two hands over the two staves'') suggest a direct connection to Sweelinck autographs.<ref>DirksenSweelinck 22.</ref>

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 1<ref>DirksenSweelinck 656-658.</ref>
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
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==== References ====
{{RISM|1001079614}}

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

=== Lynar A 2 ===
----
<blockquote>'''Seiffert:''' ''Italienisch-niederländische Tabulatur eines | süddeutschen Schreibers um 1610; 2 Systeme | 6 + 7 und 6 + 6 Linien. | Enthält Kompositionen von | Christian Erbach und der Engländer Will. | Byrd, Dr. Bull, Orlando Gibbons, | sowie einige von Gio. Gabrieli und Tarq. | Merula.'' Italian-Dutch tablature from south-German scribes from 1610; 2 systems, 6+7 and 6+6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0002915200000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671394380 00000020.jpg|thumb|A Canzona by [[Christian Erbach]] in Lynar A 2]]
'''Ms. Lynar A 2''' contains 42 [[Tasteninstrument]] pieces written in staff notation by [[Christian Erbach]], [[Giovanni Gabrieli]], [[Tarquinio Merula]], [[William Byrd]], [[John Bull]], and [[Orlando Gibbons]]. Unlike Lynar A 1, this manuscript doesn't contain any works by Sweelinck.<ref>DirksenSweelinck 21.</ref>

==== Description ====
The manuscript is written by multiple hands in "Italian-Dutch" staff notation. Some pieces are written on two 6-line staves, and some are written on one 6- and one 7-line staff. Each page is 35x24.5cm in size.

In the early 20th century, the first and last pages of the manuscript (probably not written on) were concealed by binding paper for preservation purposes.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
|-
| 35-36 || Canzon || || ||
|-
| 37-38 || Pavan / sz: ae: mpetze / William Bÿrde / Angloss || || ||
|-
| 39-40 || Galiardo / William Bÿrde || || ||
|-
| 41-42 || Galliardo / Orlando Gibbons || || ||
|-
| 43-44 || Pavana. / The Earle / of Salisburÿ / William birde || || ||
|-
| 43-44 || Preludium / Doctor Bull || || ||
|-
| 43-44 || Galliardo || || ||
|-
| 43-44 || Galiardo Secundo / Miss Matye Brosonlo / William Birde || || ||
|-
| 45-46 || Preludium / Orlando Gibbons || || ||
|-
| 47-48 || Galliardo / Orlando Gibbons || || ||
|-
| 49-50 || Galliardo / Orlado Gibbons || || End: ''Finis Coronat / O Puc'' ||
|-
| 51-52 || Galliardo / orlando gibbons || || ||
|-
| 53-58 || ''[no title]'' || || 13 variations ||
|-
| 58 || ''[no title]'' || || ||
|-
| 59-62 || A. Voluntarge / M. Bird || || ||
|-
| 63-66 || Tantasia / M. Bird || || ||
|}

==== References ====
{{RISM|1001079620}}

DirksenSweelinck, 20-22, 656-658.

Schierning, 81-84.

<references />

===Lynar B 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 1 | Deutsche Orgeltabulatur vom 1. Drittel | des 17. Jhdt. | Enthält Kompositionen von | J. P. Sweelinck, Paul Siefert, | Andr. Düben, Jak.Prätorius, Peter | Hasse, Gottfr. Scheidt, Samuel Scheidt | W. Karges, D. H. und M. D.'' 
Ms. Lynar B 1; German tablature from the first 3rd of the 17th century. Contains compositions frome [[Jan Pieterszoon Sweelinck]], [[Paul Siefert]], [[Andreas Düben]], [[Jacob Praetorius]], [[Peter Hasse]], [[Gottfried Scheidt]], [[Samuel Scheidt]], [[Wilhelm Karges]], D. H. and M. D.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 1|url=http://resolver.staatsbibliothek-berlin.de/SBB000253A600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 1''' contains 71 pages. Among other things, it contains a compilation of settings of ''Allein Gott in der Höh sey Ehr'' by different composers.
{| class="wikitable mw-collapsible"
|+Works in D-B Mus. Ms. Lynar B 1
!No.
!Title
!notes
|-
|1
|Fantasia Auff die manier von ein Echo. M. J. P. S.
|[[Jan Pieterszoon Sweelinck]]
|-
|2
|Puer natusin Bethlehem a Paulus Sivert
|[[Paul Siefert]]
|-
|3
|Nun komm der Heÿden Heÿlandt
|Paul Siefert?
|-
|4
|Nun Lobe meine Seele den Herren Auff 2 Clavir D. H.
|Düben?
|-
|5
|Wo Gott der Herr nicht beÿ unß Held auff 2 Clavir Andræ Duben
|[[Andreas Düben]]
|-
|6
|Allein Gott inn der Höh seÿ Ehr. M. J. P.
|Jan Pieterszoon Sweelinck
|-
|7
|Variatio Bicinium M. J. P.
|Jan Pieterszoon Sweelinck
|-
|8
|Variatio coral in Tenor M. J. P.
|Jan Pieterszoon Sweelinck
|-
|9
|Variatio coral in cantu 4 Vocum M. J. P.
|Jan Pieterszoon Sweelinck
|-
|10
|Variatio Choral in Cantu auff 2 Clavier A. Duben
|Andreas Düben
|-
|11
|Variatio choral in Basso A. D.
|Andreas Düben
|-
|12
|Variatio Choral in Bass M. Duben
|[[Martin Düben]]
|-
|13
|Variatio Choral in Baß 3 vocum
|
|-
|14
|Varatio
|
|-
|15
|Variatio Choral in Tenore 3 vocum P Hassen
|[[Petrus Hasse]]
|-
|16
|Variatio 3 Vocum Choral in Basso P. Hass
|Petrus Hasse
|-
|17
|Var. 12 G. S.
|[[Gottfried Scheidt]]
|-
|18
|Var. Choral in Cantu auff 2 Clav. G. S.
|Gottfried Scheidt
|-
|19
|4 vocum
|
|-
|20
|Variatio Zum Alt vndt Tenor muße nur Stimmen von 4 Fuß gezogen werden
|
|-
|21
|Variatio Choral in Cantu auf 2 Clav.
|
|-
|22
|Variatio Choral in Tenore
|
|-
|23
|Allein Gott in der Höh seÿ EHR: S. S.
|[[Samuel Scheidt]]
|-
|24
|Allein Gott â 3 Vocum Choral in Bass W. Karges
|[[Wilhelm Karges]]
|-
|25
|Erstanden ist der Heilige Christ M. D. Simpel - Auff 2. Clavir - Choral in Cantu auff 2. Clavier. - Coral in Basso 3. Voc:
|[[Martin Düben]]
|}

==== Analysis ====
===== Allein Gott in der Höh sei Ehr =====
One of the striking features of this manuscript is a cycle of chorale settings of ''Allein Gott in der Höh sei Ehr'' (with continually incrementing variation number), with some attributed to different composers and others left anonymous.

Theories have surrounded the reasoning for these compositions to have been included together. [[Max Seiffert]] said that they could have been composed by Sweelinck and his pupils together as one complete work. However, this was rejected by [[Margarete Reimann]], who said that it was simply compiled by someone else, perhaps the scribe of '''Ms. Lynar B 1'''. However, [[Pieter Dirksen]] states that the true facts may not be so simple. For instance, many of the variations form strong variation cycles themselves, such as the first few variations by Sweelinck. After these, the rest are more reminiscent of contrapuntal excercises, but several of the anonymous variations have stylistic similarities with each other, and it is possible that they were composed by the same person.

It was noted that variation 15 is a transposed copy of variation 7 (this was pointed out by [[Gisela Gerdes]].

==== References ====
[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Orgelmusik av familjen Düben''. Stockholm: Runa Nototext, 1996. xxi-xxii.

{{NdS2 2009}}

{{RISM|1001048774}}

Schierning, 32-34

<references />

===Lynar B 2===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 2 | Deutsche Orgeltabulatur ca. 1630 | Darin genannt Melchior Schildt | und J. P. Sweelinck, sonst alles anonyme Stücke'' 
Ms. Lynar B 2; German organ tablature from around 1630. Within it are pieces by [[Melchior Schildt]] and [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>
----

====Description====
'''Lynar B 2''' is a folio volume over 30 pages.

It doesn't contain any clues as to its origin, copyist, or date. Some theories include that it was compiled in North Germany around 1620-1630 or by [[Melchior Schildt]] while he was in Copenhagen around 1626-1629. However, different hands can be identified as having copied different pieces in the manuscript, so it may have been compiled over a longer period of time.

The tablature contains only fantasias and chorale/psalm settings. Of the 17 pieces contained within, two are headed by initials which give a hint to the composer. Of the rest, three more can be identified based on concordances with other manuscripts. The composers of these five works are [[Jan Pieterszoon Sweelinck]], [[Melchior Schildt]] and [[Heinrich Scheidemann]]. The rest of these pieces remain anonymous, but can be attributed to various composers on stylistic grounds.

==== Works ====
{| class="wikitable mw-collapsible"
|+Works in D-B Ms. Lynar B 2<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
!No.
!Title
!notes
!Incipit
!Ref.
|-
|1
|[Fanta]sia [mit B]indungen
|Jan Pieterszoon Sweelinck
|
|
|-
|2
|Fantasia A 4
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|3
|fantasia primi Toni A 4
|Nun komm der Heiden Heiland
|<score><< \relative g' { g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >></score>
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|4
|ach Gott vom him: mel sieh darein.
|[[Heinrich Scheidemann]]?
|<score><< \relative a' { \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >></score>
|<ref name="dirkb2"></ref>
|-
|5
|Herr Christ der Einig Gottes Sohn… M.S
|[[Melchior Schildt]]
|
|
|-
|6
|Wie schön leucht unß der Morgenstern
|
|1 variation <score><< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >></score> 2 variatio <score>\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }</score> 3 variatio <score><< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >></score> 4 variatio <score><< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >></score> 5 variatio <score><< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >></score>
|<ref name="dirkb2"></ref>
|-
|7
|Nun freut euch lieben Christen gmein
|
|1 variatio <score><< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >></score> 2 variatio <score><< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>></score> 3 variatio <score>\relative bes { \clef alto \key f \major bes1 bes2 d c bes }</score> 4 variatio <score><< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >></score> 5 variatio <score><< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >></score>
|<ref name="dirkb2"></ref>
|-
|8
|psalm 116 J. P.
|Jan Pieterszoon Sweelinck
|
|
|-
|9
|O Lux Beata Trinitas:
|
| <score><< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>></score>
|<ref name="dirkb2"></ref>
|-
|10
|psalm 60 A 2
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|11
|O Gott du unser Vater bist
|Anonymus: Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >></score> 2 variatio <score><<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>></score> 3 variatio <score><< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >></score>
|<ref name="dirkb2"></ref>
|-
|12
|P 23 Mein hütter Undt mein hirtt
|Anonymus: Jan Pieterszoon Sweelinck
|<score><< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >></score>
|<ref name="dirkb2"></ref>
|-
|13
|die 10 Gebott Gottes
|Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >></score> 2 variatio <score><< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >></score> 3 variatio <score><< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> } >></score> 4 variatio <score><< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >></score>
|<ref name="dirkb2"></ref>
|-
|14
|Es spricht den unweisen Mundt woll
|Heinrich Scheidemann
|
|
|-
|15
|Fuga Cromatico ex D.la.sol.re.
|
|
|
|-
|16
|Fantasia A. 2: 3: et 4 Vocum
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|17
|Fantasia Super ut re mi fa.sol.la. A. 3. Vocum
|
|
|
|}

After the publishing of 8 more works in Lynar B 2 by [[Pieter Dirksen]] in 1991, two works remain unpublished. The ''Fuga Cromatico'' and ''Fantasia Super ut re mi fa.sol.la.'' were described as "a brief composition employing imitation and simple chromatic lines" and "a pedantic, three-part hexachordal settings, in which the sogetto appears in the bass thirteen times in exactly the same form, constantly alternating between entries on c and G" respectively.

The setting of ''O God die onse Vader bist'' can for now be securely attributed to Sweelinck on the basis of the cantus firmus being a Dutch psalm in addition to stylistic features. Similarly, the setting of Psalm 23 can also be attributed to him, especially based on the similarities to Sweelinck's composition on Psalm 116 (which can be found in other manuscripts).

Confusingly, the manuscript contains a piece titled "fantasia primi / Toni A 4" which is neither a fantasia nor in the first tone. In fact, it is a chorale setting of ''Nun komm, der Heiden Heiland.''

<score><< \relative g' { \clef "treble_8" g1 g f bes a g a g2 r4 g bes2 g a4 g f e d e f g a bes c a bes c d2~ d4 cis8 b cis2_"etc." } \\ \relative g { s1*7 g1 g f bes a g a } \\ \\ \relative g { r2 g bes c d4 c bes a g a bes c d e f d e f g2~4 fis8 e fis2 g d d4 c d e f g a g f e d e f g a f g a g f e2 a } >></score>

It is possible that this heading was written by a different copyist before this work was written at a later date. In any case, this work only uses the first (identical with the last) line of the chorale (which means that this work could be classified as a ''choral ricercare'' or ''choral fugue''), and the contrapuntal writing is strikingly plain and schematic. In fact, this piece has been described as containing a "peculiar monothematic compositional technique, which is probably unparalleled in the surviving corpus of seventeenth century choral settings."

According to [[Pieter Dirksen]], the chorale fantasia ''Ach Gott, vom Himmel sieh' darein'' stands apart from the other works in Lynar B 2, as it transmits a chorale fantasia in the fully mature form. An attribution to [[Heinrich Scheidemann]] is possible. He is the only composer who is known to have composed chorale fantasias before 1650 (actually, this piece was not copied at a later point than the rest of the manuscript, because the same hand can be identified in Lynar B 6 and 7, and the first scribe of the manuscript writes some of the piece). However, this attribution is not secured. Some features which appear in almost all chorale fantasias by Scheidemann such as ''the simpler 'echo' techniques like monodic right-hand echoes, antiphonal echoes or 'trio echoes''', are not found in this work. Also, as shown by [[Michael Belotti]], the practice of showing the Rückpositiv voice in the top line of the manuscript even when it is in the tenor is not found in Scheidemann's music, but it does appear in the Magnificat I. toni by Schildt in the second volume of the [[Zellerfeld Organ Tablatures]].<ref>DirksenScheidemann 114-115.</ref>

The setting of ''O Lux beata Trinitas'' appears to be a result of the early Sweelinck school based on some sixteenth-note figurations that can be found within it. However, it can not be found to be similar to any single composer on stylistic grounds. The ''cantus firmus'' appears in the tenor voice completely un-ornamented in long notes. This arrangement suggests that it can be played in pedal, but the voice rises up to f' which would require a 4-foot stop to be used on an organ with a 27-note pedalboard.

==== References ====
{{NdS2 2009}}

[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

Schierning, 32-34

{{RISM|466000013}}

<references />

=== Lynar B 3 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 3 | Deutsche Orgeltabulatur ca. 1630 | Genannt sind darin: H. Scheide- | mann, J. P. Sweelinck, David Abel, | Andr. Düben, M. D., Peter Hasse, | M. W. C. B. M.'' 
Ms. Lynar B 3. German organ tablature from around 1630. Contains: [[Heinrich Scheidemann]], [[Jan Pieterszoon Sweelinck]], [[David Abel]], [[Andreas Düben]], M. D., [[Peter Hasse]], [[M. W. C. B. M.]]</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 3|url=http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023|imslp=554336}}
----

The numbers are penciled in by a librarian (on the bottom right).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1r || [missing] || || Title is on missing verso side ||
|-
| 1r || Praeludium || || Piece continues on missing verso side. ||
|-
| 1v-2r || Praludium || || ||
|-
| 2v-3r || Praludium || || ||
|-
| 3v-4r || Praludium || || ||
|-
| 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || || ||
|-
| 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] 2 Variation 3 || ||
|-
| 6v-9r || Fantasia / J. P. || || ||
|-
| 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 10v-11r || Praludium / pedaliter || || ||
|-
| 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 12v-12ar || Praludium || || ||
|-
| 12av-13v || Praludium || || ||
|-
| 13v-14r || Praludium || || ||
|-
| 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 15v-18r || Fantasia || || ||
|-
| 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] ||
|-
| 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 25v-26r || Fuga || || ||
|-
| 26v-27r || Ricercar / primi Toni || || ||
|-
| 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 32v-33r || Praambulum / pedaliter || || ||
|-
| 33v-34r || Praambulum / pedaliter || || ||
|-
| 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 36v-37r || Praludium / Pedaliter || || ||
|-
| 37v-38r || Praludium / M. D. O || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 39v- || Praludium / pedaliter || || Fragment ||
|}

==== References ====
{{RISM|466000011}}

<references />

=== Lynar B 4 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 4 | Deutsche Orgeltabulatur ca. 1630. | Genannt nur J. P. Sweelinck, | sonst anonyme Stücke. '' 
Ms. Lynar B 4. German organ tablature from around 1630. Containing pieces by only [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 4|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438100000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

The page numbers (instead of folios) have been penciled in by a librarian.

==== Contents ====

This manuscript contains four pieces:

{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 4
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1-3 || In dich hab / ich gehoffet / Herr / auf 2 Clavier / Manualiter || <score><< \relative d' { \clef alto \time 4/2 d1 d2 a' e g } \\ \relative d { r2 d2. e4 f g a8 b c d e2.*2/3 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 4-9 || Jesus Christus / unser Heylandt / auf 2 Clavier / pedaliter || <score><< \relative a { \clef alto \time 4/2 a1 d d2 cis d a4. b8 c2 c } \\ \relative d { R\breve r1 r2 d a'1 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 10-11 || Fantasia / M. J. P. || <score><< \relative d' { R\breve R\breve r2 d } \\ \relative d' { \clef alto \time 4/2 d1 d2 d c bes a1 g2. a4 } >></score> || [[Jan Pieterszoon Sweelinck]] ||
|-
| 14-17 || Fantasia / A 3 Vocum / Transpon: per 4 toni || <score>\relative b' { \time 4/2 b1 b2 b a c b4 a g fis }</score> || ||
|}

Only one piece contains an attribution, the initials M. J. P. (=[[Jan Pieterszoon Sweelinck]]). However, all four pieces can be accounted for based on concordances found elsewhere. The first piece appears in [[D-Lr Mus.ant.pract. K.N. 208/1]] titled ''In dich hab ich gehoffet H.S.M.'', linking the piece to [[Heinrich Scheidemann]] (WV 8<ref name="dirksen">DirksenScheidemann, xviii.</ref>). The second piece is also composed by Scheidemann based on concordances in [[Zellerfeld Organ Tablatures]] vol.1 and the [[Pelplin Tablatures]] (WV 10).<ref name="dirksen"></ref> The fourth piece is a transposed parody of the [[Samuel Scheidt]] ''Tabulatura Nova'', vol. 2 no.6 (the composer of the parody is unknown).

==== References ====
{{RISM|1001048776}}

Schierning, 31.

<references />

=== Lynar B 5 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 5 | Deutsche Orgeltabulatur ca. 1630 | Darin 1 Choralbearbeitung von | Jakob Praetorius (unvollständig)'' 
Ms. Lynar B 5. German organ tablature from around 1630. Contains one choral work from [[Jacob Praetorius]] (incomplete).</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 5|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438200000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:PPN1032686251 00000006.jpg|thumb|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]
This manuscript contains one piece, a fragment of a [[Chorale Fantasia]] ''Durch Adams Fall ist ganz verderbt'' auff 3 clavier by [[Jakob Praetorius]]. The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''<ref>[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.</ref>.

==== References ====
{{RISM|1001048780}}

Schierning, 37-38.

<references />

=== Lynar B 6 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 6 | Deutsche Orgeltabulatur ca. 1630 | Enthält 1 Toccata von Heinrich | Scheidemann'' 
Ms. Lynar B 6. German organ tablature from around 1630. Contains one toccata by [[Heinrich Scheidemann]].</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 6|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438300000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 6''' contains a manualiter Toccata auf 2 clavir (WV 43) by [[Heinrich Scheidemann]] on 10 pages.

An autograph manuscript of this piece has been discovered in [[D-W Cod. Guelf. 8 Noviss. 2/o]]. Besides this, copies are also found in many other manuscripts including the first volume of the [[Zellerfeld Tablatures]], [[D-W Ms. 227]], and various different (corrupted) forms in [[D-Lr Mus.ant.pract. K.N. 208-1]] and [[D-Lr Mus.ant.pract. K.N. 209|209]], and [[D-B Am.B 340]] (the last three manuscripts transmit the piece in a "pedaliter version" and are assigned WV number 43a by Dirksen).

Before the discovery of the Wolfenbuttel manuscript, Breig stated that the copy in '''Ze 1''' is likely the most accurate.

==== References ====
{{RISM|1001048781}}

[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft 3. Wiesbaden: Franz Steiner, 1967. 87-93, 108.

DirksenScheidemann xvii, 3-5.

<references />

=== Lynar B 7 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 7 | Deutsche Orgeltabulatur ca. 1640. | Enthält Psalmen und Choräle, alle anonym'' 
Ms. Lynar B 7. German organ tablature from around 1640. Contains psalms and chorales, all anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 7|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438500000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:Lubbenauer.jpg|right|thumb|The heading to Psalm 100 in Lynar B 7]]
Ms. Lynar B 7 consists of single- and multi-verse settings of various Genevan psalms and the chorale ''Erhalt uns, Herr, bei deinem Wort''.

This manuscript was published by [[Pieter Dirksen]] in 1996.

==== Description ====
The header of each piece is stylized by a three-pronged symbol followed by the number of the psalm. Some verses are also marked "3 voci" or "Corall in tenor" for example.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 7
|-
! fol. !! Title !! Incipit !! Notes
|-
| {{TT|1r-2r}} || P 66 || <score>{ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }</score> 2. V. <score>{ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }</score> ||
|-
| {{TT|2v-3r}} || P 5 || <score>{ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }</score> 2 Vari / in Basso <score>{ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }</score> 3 V. / im Tenor <score>{ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }</score> ||
|-
| {{TT|3v-5r}} || P 116 || <score>{ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }</score> 2 Vari: <score>{ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }</score> 3. Vari / Corahll in / Tenor <score>{ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }</score> 4 Variatio / a 4 <score>{ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }</score> ||
|-
| {{TT|5v-7r}} || P 100 || <score>{ \time 4/2 \clef alto << \relative a' { a1 b g2 c2*1/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g2*1/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }</score> [2 V] <score>{ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }</score> 3 variation <score>{ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }</score> [4 V] <score>{ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }</score> || Written in second hand
|-
| {{TT|6v-7r}} || Erhalt uns / Herr beij / deinen wortt || <score>{ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }</score> 2 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }</score> 3 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2*1/2 } \\ \relative ees { ees8 d c b r c b a g2*1/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }</score> || Written in second hand
|-
| {{TT|7v-8r}} || P 24 || <score>{ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }</score> 2 V. / a 3 <score>{ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }</score> ||
|}

==== Analysis ====
Dirksen states that the pieces in this manuscript can be conclusively connected with the Netherlands. While such psalm variations (and the psalm melodies themselves) are ''wholly unknown'' in Germany, they were abundantly found in the Netherlands, always in ''variation'' form (instead of German forms such as the [[Chorale Fantasia]]).

According to Dirksen, the five psalm melodies found in '''Ms. Lynar B 7''' were the most popular melodies from the Genevan Psalter during this time period.

The psalm variations ''are marked by a great unity of style''. On the other hand, the setting of ''Erhalt uns, Herr, bei deinem Wort'' is found to be slightly more sophisticated, and it has more rhythmic and harmonic variety. The compositions share a number of recurring musical patterns with pieces by [[Jan Pieterszoon Sweelinck]], but the pieces are too conservative in character to have been composed by him. They were likely written by another composer who lived around the same time. They were probably brought to the German-speaking lands by a student of Sweelinck who copied them into tablature notation.

==== References ====
{{RISM|1001048782}}

[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996.

<references />

=== Lynar B 8 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 8 | Deutsche Orgeltabulatur ca. 1630. | darin der Siefertschüler Andreas | Neunaber vertreten'' 
Ms. Lynar B 8. German organ tablature from around 1630, containing [[Andreas Neunhaber]], the student of Siefert.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 8|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains two pieces, "Ich ruff zu / dir herr / Jesu Christ / auff 2. clavier" and "Alio modo / auff 2. und 3. / Clavir, und auff der / Pedal zu gebrauch: / Anton Neunhaber." These are thought to be two verses of the same piece by [[Andreas Neunhaber]] (Max Seiffert made the connection from Anton -> Andreas Neunhaber).

==== Description ====
Unlike all of the other Lynar B tablatures, this manuscript splits the octave at 'h' instead of 'c'.

[[Lydia Schierning]] said that Neunhaber was only the composer of the second piece and that it is possible the scribe was planning to create a larger compilation of chorale settings on this chorale tune by different composers.

The second piece is in five voices and has detailed manual change indications written into the tablature.<ref>[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.</ref>

==== Contents ====
<score><<
\new Staff \relative a' { \mark "1" \time 4/2 r2 a f4 e8 f g4 f8 g f8 g f e d c d e f16 e f g f g a f g f g a g a bes g a1 }
\new Staff \with { \clef bass } << \relative f { f1 a2 c a bes a e f4 d2 cis4 } \\ \relative d { d1 d2 e f g d c f,4. g8 a2 } >>
>></score>

<score><<
\new Staff \relative a' { \mark "2" \time 4/2 r1 r1 r1 a f2 g f8 g e f d g d e }
\new Staff \with { \clef bass } << \relative a { r1 r4 a f g f d f g f2 e d2. e4 a2 bes } \\ \relative a { r4 a f g f d d8 c bes4 a f a8 d bes c a4 d d cis d bes bes c d2 g } >>
>></score>

==== References ====
{{RISM|1001048783}}

Schierning, 39.

<references />

=== Lynar B 9 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 9 | Deutsche Orgeltabulatur ca. 1630 | 2 anonyme Praeludien.'' 
Ms. Lynar B 9. German organ tablature from around 1630. Two anonymous preludes.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 9|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438800000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

Both preludes were edited by [[Partitura Organum]] in 2019.

==== Description ====
Both preludes are typical of the north-German präludium.

Some notes are not visible on the edge of the left page.

==== Contents ====
[[File:Lynar b 9.jpg|thumb]]

<score><<
\new Staff << \relative e'' { \mark "Praeludium 1" e1 f2 e d4 e f2 e1 a,2. 4 a2 d~ d d c2 a4 b } \\ \relative a' { a1 a2 a a1 e2 e~ e4 e e2 f4 g a2~ a a a r2 } >>
\new Staff \with { \clef alto } << \relative cis' { cis1 d2 e f4 e d2 cis2 cis~4 4 2 d4 e f2~ f f e1 } \\ \relative a { a1 a2. 4 a1 a r1 r2 a~a a4 b c a c d } >>
\new Staff \with { \clef bass } \relative a, { \time 4/2 a1 d2 cis d1 a2 a'~ a4 a a2 d,2. e4 f d f g a1 }
>></score>

<score><<
\new Staff << \relative c'' { \mark "Praeludium 2" \time 4/2 c1 d4. ees8 d4 c bes2 bes~ bes4 c8 bes a4 g a1 } \\ \relative f' { f1 f f f f4 e8 d c4 d } >>
\new Staff \with { \clef bass } << \relative a { a1 bes2 bes4 c d1 c2. bes4 c2 a4 bes } \\ \relative f { f1 bes, bes4 c d e f1 f } >>
>></score>

==== Scores ====
'''Prelude 1:''' [https://partitura.org/index.php/anonymus-praeludium/ partitura.org], 31 October, 2019. ([https://partitura.org/wp-content/uploads/2019/10/Anonymus-Lynar-B9-Praeludium-1.pdf Score]) Accessed 14 January, 2023.

'''Prelude 2:''' [https://partitura.org/index.php/anonymus-praeludium-2/ partitura.org], 5 November, 2019. ([https://partitura.org/wp-content/uploads/2019/11/Anonymus-Lynar-B9-Praeludium-2.pdf Score]) Accessed 14 January, 2023.

==== References ====
{{RISM|1001048784}}

Schierning, 39.

<references />

=== Lynar B 10 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 10 | Deutsche Orgeltabulatur ca. 1640. | Inhalt 1 anonyme Choralbearbeitung'' 
Ms. Lynar B 10. German organ tablature from around 1640. Contains one anonymous choral work.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 10|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438900000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains one piece, anonymous ''Sei nun wieder zufrieden'' a 3. The composition ends after the first system on the third page, the final symbol is a cut time signature.

The texture of the piece is very odd compared to all the other pieces contained in the Lynar Tablatures.

<score><<
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor g1 a2 bes2 bes c d d r r d d d4. g,8 c2. c4 | bes1 bes2 bes1 a2 bes1 r2 R1. R1. R1. r2 f' ees }
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor R1. g1 a2 bes2 bes c d bes bes bes a2. a4 bes2. c4 d2 c2 c1 bes2 bes c d2. ees4 c2 bes2 bes r2 R1. r2 d c }
\new Staff \with { \clef bass } \relative g { \time 3/2 \key g \minor g1 f2 ees1 c2 bes1 a4 g f2 g d ees f1 g2. a4 bes2 ees,2 f1 bes2 bes' a g g, a bes bes c d2. ees4 f2 | bes1 c2 }
>></score>

Actually, it appears that it is an intabulation of a cantata instead of an original organ piece (Scierning says that it seems to have been written for two sopranos and basso continuo).

The title is from Psalm 116, verse 7.

==== References ====
{{RISM|1001048785}}

Scierning, 106

<references />

=== Lynar C ===
'''Lynar C''' (also called C 1 or B 11{{Citation needed}})contains anonymous polyphonic settings of the 150 genevan psalms (actually only 124 settings, because of the reuse of psalm tunes). It is written on 119 sheets in [[New German Tablature Notation]].

The settings are extremely simple. It appears that this was a psalm-book that used privately by people gathered together, who would sing the psalms, or play them on all different instruments, at social gatherings (or it was a copy of this type of book).

''The current status of '''Ms. Lynar C''' is not clear. It is not found in the [https://stabikat.de] database under the shelfmark "Ms. Lynar C" or "Lynar B 11"<ref>See [https://stabikat.de/Search/Results?lookfor=ms.+lynar*&type=ShelfMark&limit=20], accessed 31 October, 2023.</ref>.''

==== References ====
Schierning, 106-109.

<references />

[[Category:Manuscripts|Lynar]]
[[Category:Tablatures|Lynar]]
[[Category:German manuscripts|Lynar]]

Schmahl Organ Tablatures

2024-01-22T16:21:07Z

WillsSchoolAccount:

The '''Schmahl Organ Tablatures''' (de: ''Schmahls Orgeltabulaturen''), is a collection of five manuscripts which is currently housed in the ''Biblioteka Jagiellonska'', Kraków. The bundle (de: "Das Konvolut") contains works by [[Dietrich Buxtehude]], [[Vincent Lübeck]], [[Nicolaus Bruhns]], and others.

== Provenance ==
The manuscripts were owned by [[Heinrich Schmahl]], the organist at St. Jacobi in Hamburg, before his death in 1892. After this, they were owned by [[Philipp Spitta]], then by the Berlin ''Königliche Bibliothek'' (accession number 1907.828). At a later point, they were housed in the ''Staatsbibliothek Berlin'' until 1945, and now are located in Kraków. The manuscripts are apparently not stored under the shelfmark ''Mus. ms. 40295'', or any other shelfmark<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''N. Bruhns / A. M. Brunckhorst: Sämtliche Orgelwerke.'' MdNO 8. Schott, 2006. Page 70: "Ohne signatur"</ref>.

== Contents ==
The title page has the following text (italics represent later additions by librarians).<blockquote>''Mus. ms. 40295 M 1907.828'' / Sehr werthvolle / alte / theilweise Original-Manuscripte / in Tabulaturschrift / geschreiben, / enthaltent / Orgelstücke von D. Buxtehude, Vinzent Lübeck, / N. Bruhns, Leyding, / aus dem Nachlaß / des weil Org. Redekers, / welcher sie aus Org. Westphals (Org. zu St Nicolai, / und Schüler Kittels) Nachlaß erstanden. / ''5 Hefte''</blockquote>

{| class="wikitable"
|+ Contents of the Schmahl Organ Tablatures<ref>Beckmann: Lübeck, 66-67.</ref><ref>Belotti: Die freien Orgelwerke, 74.</ref>
|-
! Photo !! Title !! Incipit !! Notes !! Ref.
|-
!colspan="5"| Mus.ms. 40295/1
|-
| 1 || Mus.ms. 40295/1 / M 1907.828 / Buxtehude. / 5 Blatt / (St) || || BuxWV 151 ||
|-
| 2-5 || Praeludium / D B H. / Ao 1696 den 25 Junius || || ||
|-
!colspan="5"| Mus.ms. 40295/2
|-
| 6 || Mus.ms. 40295/2 / M 1907.828 / XXX / 1)Praeludium exet Fuga / ex Gb. / V. Lübeck. / XXX / 2)Praeludium et Fuga / ex C# / V Lubeck. / XXX / (St) / J H B / Anno 17[...] / d 24 J || || ||
|-
| 7-10 || Praeludium / ex Gb / V: L. || || ||
|-
| 11-13 || Praeludium / ex C# / D / V: L || || ||
|-
!colspan="5"| Mus.ms. 40295/3
|-
| 14 || Mus.ms. 40295/3 / Praeambulum ex E# / V Lübeck / Praeambulum ex Cb / V. Lübeck / Praeambulum ex Db. / V. Lübeck / (St) / aus H. Schamhl's Nachlass. || || ||
|-
| 15-17 || Praeamb: / ex E# / V Lübeck || || ||
|-
| 18-19 || Praeamb / et Fuga / ex Cb V Lübeck || || ||
|-
!colspan="5"| Mus.ms. 40295/4
|-
| 20 || Mus.ms. 40295/4 / M 1907.828 / Bruhns. Buxtehude / 6 Blatt (1 unbeschr.) / Praeludium / ex E / Com Pedahl / di / NBruhns / Praeludium ex D / Com Pedahl (St) / di / S. B. H. || || ||
|-
| 21-22 || Praeludium / ex E / di / NBruhns || || ''Kleine Praeludium'' ||
|-
| 23-24 || Praeludium / di / D. B. H. || || BuxWV 139 ||
|-
!colspan="5"| Mus.ms. 40295/5
|-
| 25 || M 1907.828 / Mus.ms. 40295/5 Leyding / 12 Blatt / I: N: I: A / Preludia: / Pedal: / Di / Leyding / Cop. / Cop. / (St)Cop.: || || ||
|-
| 26-29 || Praeludium / ex: B:h / Di / Leyding Ped: || || ||
|-
| 30-32 || I: N: I: A: / Praeludium / Di Leyding / Ped: || || ||
|-
| 33-35 || Praeludium / ex D / Dj: Leyding Pedal: || || Actually "ex Dis" ||
|-
| 36 || Fuga: || || ||
|}

== Reference ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band II''. Wiesbaden: Breitkopf & Härtel, 1997.

[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Vincent Lübeck: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1973.

[[Michael Belotti|Belotti, Michael]]. ''Die freien Orgelwerke Dietrich Buxtehudes: Überlieferungsgechichtliche und stilkritische Studien.'' Frankfurt am Main: Peter Lang GmbH, 1995. 72-79

[[Category:Manuscripts|Schmahl]]
[[Category:Tablatures|Schmahl]]
[[Category:Polish manuscripts|Schmahl]]

Turin Tablatures

2024-01-16T18:57:25Z

WillsSchoolAccount: Created page with "The '''Turin Tablatures''' are a collection of manuscripts held in the ''Biblioteca Nazionale'', Torino. Transmitting a staggering 1,170 pieces in 16 volumes, the Turin Tablatures is one of the most monumental collections in all of early music. {{Stub}} == History == Little is known about the history of the manuscripts before they were owned by the Genoese Durazzo family in the 1700s. <blockquote>It remained in the possession of this family until well into the 20th c..."

The '''Turin Tablatures''' are a collection of manuscripts held in the ''Biblioteca Nazionale'', Torino.

Transmitting a staggering 1,170 pieces in 16 volumes, the Turin Tablatures is one of the most monumental collections in all of early music.

{{Stub}}

== History ==
Little is known about the history of the manuscripts before they were owned by the Genoese Durazzo family in the 1700s.

<blockquote>It remained in the possession of this family until well into the 20th century, although the collection was split into two in 1893 because of a heritage division. As early a 1930, however, the halves were reunited when they were acquired by the Biblioteca Nazionale in Turin.<ref>Dirksen, 23.</ref></blockquote>

== References ==
[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. 23-25.

Gentili, Alberto. "La raccolta di musicali 'Mauro Foa' alla Biblioteca Nazionale di Torino." ''Academie e Bibiblioteche d'Italia'' 1, 1927. 36-50.

Gentili, Alberto. "La raccolta M. Foa nella Biblioteca Nazionale di Torino." ''Rivista musicale italiana'' 34, 1927. 356-358.

Gentili, Alberto. "La raccolta di antiche musiche Renco Giordano alla Biblioteca Nazionale di Torino." ''Academie e Bibiblioteche d'Italia'' 4, 1930. 36-50.

Mischiati, Oscar. "L'intavolatura d'organo tedesca della Biblioteca Nazionale di Torino." [[L'Organo]] 4, 1963. 1-154.

Rubsamen, Walter H. "Music Research in Italian Libraries." ''Music Library Association Notes'' 2, 1949. vi, 543-569.

Lynar Tablatures

2024-01-16T18:39:03Z

WillsSchoolAccount: /* Lynar A 1 */

The '''Lynar tablatures''' are a collection of manuscripts that are currently held in the Staatsbibliothek, Berlin. It has been interpreted as one of the most important sources for the works of the North-German pupils of [[Jan Pieterszoon Sweelinck]].

With a few exceptions, the Lynar Tablatures exclusively transmit keyboard music, mostly for organ. The exceptions are one manuscript which appears to contain an [[Intabulation]] of a cantata (see [[#Lynar B 10|B 10]]) and another which appears to be transcribed from a psalm part book ([[#Lynar C|C]]).

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Overtime, many of the other anonymous compositions have been linked to composers based on concordances and stylistic analysis.

The Lynar Tablatures themselves (as well as the pieces within) have been covered in-depth by many musicologists, including [[Lydia Schierning]] in her extensive book on manuscripts of german early keyboard music, and [[Pieter Dirksen]] in various books and publications.

All of the Lynar Tablatures except B 2 and C 1 are already digitized. However, it appears that B 2 is currently being digitized'''<nowiki>[as of September, 2023]</nowiki>'''<ref>[https://stabikat.de/Record/671441701 stabikat.de], accessed 24 September, 2023. -> "Online-Zugang": ''Das Werk, das Sie suchen, befindet sich aktuell in der Digitalisierung. ''</ref>.

== History<ref>[[Hans Schnieders|Schnieders, Hans]], "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [https://archiv.ub.uni-heidelberg.de/volltextserver/12663/1/Schnieders_2011.pdf], accessed 15 September, 2023. 2.15 Lynar A1</ref> ==
The first Lynar tablatures that were known to musicologists were the '''A 1''' and '''A 2''' manuscripts. These two manuscripts had copies made of them in the middle of the 19th century. Later in the 19th century both manuscripts went missing (In the 1894 edition of keyboard works of Sweelinck, [[Max Seiffert]] could only rely on the 1841 copy). However, the "A" manuscripts were fortunately found in 1920, and around this time the 11 manuscripts in tablature notation were discovered by [[Rochus Friedrich zu Lynar]]. All 13 manuscripts were collected and stored in the Spreewald museum in Lübbenau-Lehde. In 1933<ref>[[Max Seiffert|Seiffert, Max]] (editor), ''Sweelinck: Werken voor Orgel en Clavecimbel.'' Amsterdam: G. Alsbach & Co., 1942. xlvi</ref> [[Max Seiffert]] inspected the manuscripts and assigned the shelfmarks starting with A (referring to staff notation) and B (tablature notation). The description penciled on the front of each manuscript is written by Seiffert.

<blockquote>The Lynar B collection of tablatures was discovered more recently. They were found during the reorganization of the castle papers for removal to a newly founded city museum in the 1920s. According to [[Hans Joachim Moser]], the first musicologist to see them, they consisted of nothing but a ''large, disordered pile of paper–partly gathered in bundles, partly consisting of loose sheets and notated in organ tablature.''<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. V</ref></blockquote>

In 1956, the manuscripts were moved to the ''Staadtsbibliothek'', Berlin, retaining their previous shelfmarks.

== Description ==
According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized '''Ms. Lynar A 1''', '''Ms. Lynar B 2''', etc.

The "A" tablatures are in various types of staff notation, and the "B" (and "C") tablatures are in [[New German Tablature Notation]].

== Analysis ==
=== Lynar A Tablatures ===
<blockquote>...the Lynar A manuscripts must be particularly close to Sweelinck's autographs, if not actually copied directly from them–which seems not only to hold for the large collection of Sweelinck pieces themselves (in Lynar A 1) but for much of the remaining content as well, including the large virginalist section in LyA2.<ref>DirksenScheidemann, 144-145.</ref></blockquote>

=== Lynar B Tablatures ===

==== [[Pieter Dirksen]]<ref name="dirksen">DirksenScheidemann, 9-10.</ref> ====
<blockquote>The Lynar B tablatures as a whole must now be seen as a closely connected series of sources which probably actually originated within the North German Sweelinck school, going back directly to one of the North German Sweelinck pupils.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII</ref></blockquote>

The Lynar B tablatures have proven valuable as a source of works from the North-German Sweelinck school as well as from Sweelinck himself, as thirteen works (including 10 not known from any other source) by him are found within.

Dirksen interprets the 11 "B" tablatures as forming a unified whole because (among other reasons) it can be identified that some of the unknown copyists wrote more than one manuscript each.

As for the originating location of the manuscripts, the area of Gdańsk (german: Danzig) was theorized based on the inclusion of pieces by [[Paul Siefert]] and [[Andreas Neunhaber]]. Similarly based on circumstantial evidence, the manuscripts can be dated to around the 1620s (even though some pieces within can be dated to later). One date found within the manuscript, 1628, also suggests this.

Dirksen notes that the works by Sweelinck must have been transcribed from Anglo-Dutch staff notation to [[New German Tablature Notation]].

== References ==
[[Pieter Dirksen|Dirksen, Pieter]]. ''The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence.'' Muziekhistorische Monografieen, vol. 15. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997. ("DirksenSweelinck")

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. ("DirksenScheidemann")

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

<references />

== Contents ==
=== Lynar A 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar A 1 | Jugendautograph des Hamburger | Organisten Matthias Weckmann | (1620-1674), begonnen 1637 in Ham- | burg. Niederländische Tabulatur auf | 2 x 6 Linien. | Inhalt Kompositionen von | Jan Pieters Sweelinck, Christian | Erbach, Gio. Gabrieli, Peter Philipps, | John Bull, Gilles Farnaby, L. Wood- | sen, La Barre, Gautier, Ballard, | M. Weckmann, Pieter Cornet.'' Ms. Lynar A 1: Young autograph by the Hamburg organist [[Matthias Weckmann]] (1620-1674), begun in 1637 in Hamburg. Dutch tablature on 2x6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000031.jpg|thumb|Toccata by Sweelinck in Lynar A 1]]
'''Ms. Lynar A 1''' is a manuscript in Dutch 6-line staff notation. It contains 81 keyboard pieces. It is one of the first manuscripts to be known to early musicologists and has been called "the primary source for the keyboard music of [[Jan Pieterszoon Sweelinck]]"<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm variations from Lynar B 7.'' Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. Page V.</ref>.

Despite going missing in the late 19th century, this manuscript has since been rediscovered.

Actually, the scribe of the manuscript is not [[Matthias Weckmann]] (like [[Max Seiffert]] said)<ref>Schierning, 78</ref><ref>DirksenSweelinck, 21</ref>.

==== Description ====
[[Max Seiffert]] said that the scribe of the manuscript was [[Matthias Weckmann]] while he was a student of [[Jakob Praetorius]].<ref>Schierning, 78</ref> One possible reason for this is that the manuscript was located in the Hamburg ''Universitätsbibliothek'' when it was inspected by him.<ref>Schierning, 78. ''Dieses Manuskript war bis zu seiner Vernichtung im letzten Krieg im Besitz der Hamburger Universitätsbibliothek...''</ref>

However, when comparing this manuscript with the [[Visby Tablature]], which was written in similar circumstances (by [[Berendt Petri]] while studying with [[Jakob Praetorius]]), the difference in repertoire can be seen. Actually, based on the use of the organ in North-Germany, Jakob Praetorius and his students would only have use for verses and variations on chorales, hymns, magnificats, motet intabulations and short preludiums.<ref>Schierning, 79</ref>. It seems unlikely that J. Praetorius would have changed his teaching (including choice of pieces) and at the same time it would not be usable for his student from Hamburg.<ref>Schierning, 79</ref> For this reason, a North-German origin of this manuscript (under the teaching of Jakob Praetorius) is doubtful.<ref>Schierning, 79. ''Diese Fragen werden kaum zu bejahen sein, somit ist eine norddeutsche Herkunft der Handschrift stark zu bezweifeln''</ref>

On the question of proximity to Autographs by Sweelinck, Pieter Dirksen says that the manuscript must have had an origin close to Sweelinck and his school, not only based on the selection of pieces included but also their high copying quality.

<blockquote>The Sweelinck pieces are copied with hardly any mistakes at all, and anyone who has worked with manuscript sources knows how rare such a state of affairs is.<ref>DirksenSweelinck 21.</ref></blockquote>

In addition, ''The scribe apparently had access to an exclusive strain of the Sweelinck transmission'',<ref>DirksenSweelinck 22.</ref> as many high-quality pieces (including ''Mein junges Leben hat ein End'') are included which would surely be copied by other scribes if they had access to them. Also, the staff notation layout (two staves with six lines each) and other aspects of the notation (including the ''musicality of the two hands over the two staves'') suggest a direct connection to Sweelinck autographs.<ref>DirksenSweelinck 22.</ref>

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 1<ref>DirksenSweelinck 656-658.</ref>
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
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==== References ====
{{RISM|1001079614}}

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

=== Lynar A 2 ===
----
<blockquote>'''Seiffert:''' ''Italienisch-niederländische Tabulatur eines | süddeutschen Schreibers um 1610; 2 Systeme | 6 + 7 und 6 + 6 Linien. | Enthält Kompositionen von | Christian Erbach und der Engländer Will. | Byrd, Dr. Bull, Orlando Gibbons, | sowie einige von Gio. Gabrieli und Tarq. | Merula.'' Italian-Dutch tablature from south-German scribes from 1610; 2 systems, 6+7 and 6+6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0002915200000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671394380 00000020.jpg|thumb|A Canzona by [[Christian Erbach]] in Lynar A 2]]
'''Ms. Lynar A 2''' contains 42 [[Tasteninstrument]] pieces written in staff notation by [[Christian Erbach]], [[Giovanni Gabrieli]], [[Tarquinio Merula]], [[William Byrd]], [[John Bull]], and [[Orlando Gibbons]]. Unlike Lynar A 1, this manuscript doesn't contain any works by Sweelinck.<ref>DirksenSweelinck 21.</ref>

==== Description ====
The manuscript is written by multiple hands in "Italian-Dutch" staff notation. Some pieces are written on two 6-line staves, and some are written on one 6- and one 7-line staff. Each page is 35x24.5cm in size.

In the early 20th century, the first and last pages of the manuscript (probably not written on) were concealed by binding paper for preservation purposes.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
|-
| 35-36 || Canzon || || ||
|-
| 37-38 || Pavan / sz: ae: mpetze / William Bÿrde / Angloss || || ||
|-
| 39-40 || Galiardo / William Bÿrde || || ||
|-
| 41-42 || Galliardo / Orlando Gibbons || || ||
|-
| 43-44 || Pavana. / The Earle / of Salisburÿ / William birde || || ||
|-
| 43-44 || Preludium / Doctor Bull || || ||
|-
| 43-44 || Galliardo || || ||
|-
| 43-44 || Galiardo Secundo / Miss Matye Brosonlo / William Birde || || ||
|-
| 45-46 || Preludium / Orlando Gibbons || || ||
|-
| 47-48 || Galliardo / Orlando Gibbons || || ||
|-
| 49-50 || Galliardo / Orlado Gibbons || || End: ''Finis Coronat / O Puc'' ||
|-
| 51-52 || Galliardo / orlando gibbons || || ||
|-
| 53-58 || ''[no title]'' || || 13 variations ||
|-
| 58 || ''[no title]'' || || ||
|-
| 59-62 || A. Voluntarge / M. Bird || || ||
|-
| 63-66 || Tantasia / M. Bird || || ||
|}

==== References ====
{{RISM|1001079620}}

DirksenSweelinck, 20-22, 656-658.

Schierning, 81-84.

<references />

===Lynar B 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 1 | Deutsche Orgeltabulatur vom 1. Drittel | des 17. Jhdt. | Enthält Kompositionen von | J. P. Sweelinck, Paul Siefert, | Andr. Düben, Jak.Prätorius, Peter | Hasse, Gottfr. Scheidt, Samuel Scheidt | W. Karges, D. H. und M. D.'' 
Ms. Lynar B 1; German tablature from the first 3rd of the 17th century. Contains compositions frome [[Jan Pieterszoon Sweelinck]], [[Paul Siefert]], [[Andreas Düben]], [[Jacob Praetorius]], [[Peter Hasse]], [[Gottfried Scheidt]], [[Samuel Scheidt]], [[Wilhelm Karges]], D. H. and M. D.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 1|url=http://resolver.staatsbibliothek-berlin.de/SBB000253A600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 1''' contains 71 pages. Among other things, it contains a compilation of settings of ''Allein Gott in der Höh sey Ehr'' by different composers.
{| class="wikitable mw-collapsible"
|+Works in D-B Mus. Ms. Lynar B 1
!No.
!Title
!notes
|-
|1
|Fantasia Auff die manier von ein Echo. M. J. P. S.
|[[Jan Pieterszoon Sweelinck]]
|-
|2
|Puer natusin Bethlehem a Paulus Sivert
|[[Paul Siefert]]
|-
|3
|Nun komm der Heÿden Heÿlandt
|Paul Siefert?
|-
|4
|Nun Lobe meine Seele den Herren Auff 2 Clavir D. H.
|Düben?
|-
|5
|Wo Gott der Herr nicht beÿ unß Held auff 2 Clavir Andræ Duben
|[[Andreas Düben]]
|-
|6
|Allein Gott inn der Höh seÿ Ehr. M. J. P.
|Jan Pieterszoon Sweelinck
|-
|7
|Variatio Bicinium M. J. P.
|Jan Pieterszoon Sweelinck
|-
|8
|Variatio coral in Tenor M. J. P.
|Jan Pieterszoon Sweelinck
|-
|9
|Variatio coral in cantu 4 Vocum M. J. P.
|Jan Pieterszoon Sweelinck
|-
|10
|Variatio Choral in Cantu auff 2 Clavier A. Duben
|Andreas Düben
|-
|11
|Variatio choral in Basso A. D.
|Andreas Düben
|-
|12
|Variatio Choral in Bass M. Duben
|[[Martin Düben]]
|-
|13
|Variatio Choral in Baß 3 vocum
|
|-
|14
|Varatio
|
|-
|15
|Variatio Choral in Tenore 3 vocum P Hassen
|[[Petrus Hasse]]
|-
|16
|Variatio 3 Vocum Choral in Basso P. Hass
|Petrus Hasse
|-
|17
|Var. 12 G. S.
|[[Gottfried Scheidt]]
|-
|18
|Var. Choral in Cantu auff 2 Clav. G. S.
|Gottfried Scheidt
|-
|19
|4 vocum
|
|-
|20
|Variatio Zum Alt vndt Tenor muße nur Stimmen von 4 Fuß gezogen werden
|
|-
|21
|Variatio Choral in Cantu auf 2 Clav.
|
|-
|22
|Variatio Choral in Tenore
|
|-
|23
|Allein Gott in der Höh seÿ EHR: S. S.
|[[Samuel Scheidt]]
|-
|24
|Allein Gott â 3 Vocum Choral in Bass W. Karges
|[[Wilhelm Karges]]
|-
|25
|Erstanden ist der Heilige Christ M. D. Simpel - Auff 2. Clavir - Choral in Cantu auff 2. Clavier. - Coral in Basso 3. Voc:
|[[Martin Düben]]
|}

==== Analysis ====
===== Allein Gott in der Höh sei Ehr =====
One of the striking features of this manuscript is a cycle of chorale settings of ''Allein Gott in der Höh sei Ehr'' (with continually incrementing variation number), with some attributed to different composers and others left anonymous.

Theories have surrounded the reasoning for these compositions to have been included together. [[Max Seiffert]] said that they could have been composed by Sweelinck and his pupils together as one complete work. However, this was rejected by [[Margarete Reimann]], who said that it was simply compiled by someone else, perhaps the scribe of '''Ms. Lynar B 1'''. However, [[Pieter Dirksen]] states that the true facts may not be so simple. For instance, many of the variations form strong variation cycles themselves, such as the first few variations by Sweelinck. After these, the rest are more reminiscent of contrapuntal excercises, but several of the anonymous variations have stylistic similarities with each other, and it is possible that they were composed by the same person.

It was noted that variation 15 is a transposed copy of variation 7 (this was pointed out by [[Gisela Gerdes]].

==== References ====
[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Orgelmusik av familjen Düben''. Stockholm: Runa Nototext, 1996. xxi-xxii.

{{NdS2 2009}}

{{RISM|1001048774}}

Schierning, 32-34

<references />

===Lynar B 2===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 2 | Deutsche Orgeltabulatur ca. 1630 | Darin genannt Melchior Schildt | und J. P. Sweelinck, sonst alles anonyme Stücke'' 
Ms. Lynar B 2; German organ tablature from around 1630. Within it are pieces by [[Melchior Schildt]] and [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>
----

====Description====
'''Lynar B 2''' is a folio volume over 30 pages.

It doesn't contain any clues as to its origin, copyist, or date. Some theories include that it was compiled in North Germany around 1620-1630 or by [[Melchior Schildt]] while he was in Copenhagen around 1626-1629. However, different hands can be identified as having copied different pieces in the manuscript, so it may have been compiled over a longer period of time.

The tablature contains only fantasias and chorale/psalm settings. Of the 17 pieces contained within, two are headed by initials which give a hint to the composer. Of the rest, three more can be identified based on concordances with other manuscripts. The composers of these five works are [[Jan Pieterszoon Sweelinck]], [[Melchior Schildt]] and [[Heinrich Scheidemann]]. The rest of these pieces remain anonymous, but can be attributed to various composers on stylistic grounds.

==== Works ====
{| class="wikitable mw-collapsible"
|+Works in D-B Ms. Lynar B 2<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
!No.
!Title
!notes
!Incipit
!Ref.
|-
|1
|[Fanta]sia [mit B]indungen
|Jan Pieterszoon Sweelinck
|
|
|-
|2
|Fantasia A 4
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|3
|fantasia primi Toni A 4
|Nun komm der Heiden Heiland
|<score><< \relative g' { g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >></score>
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|4
|ach Gott vom him: mel sieh darein.
|[[Heinrich Scheidemann]]?
|<score><< \relative a' { \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >></score>
|<ref name="dirkb2"></ref>
|-
|5
|Herr Christ der Einig Gottes Sohn… M.S
|[[Melchior Schildt]]
|
|
|-
|6
|Wie schön leucht unß der Morgenstern
|
|1 variation <score><< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >></score> 2 variatio <score>\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }</score> 3 variatio <score><< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >></score> 4 variatio <score><< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >></score> 5 variatio <score><< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >></score>
|<ref name="dirkb2"></ref>
|-
|7
|Nun freut euch lieben Christen gmein
|
|1 variatio <score><< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >></score> 2 variatio <score><< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>></score> 3 variatio <score>\relative bes { \clef alto \key f \major bes1 bes2 d c bes }</score> 4 variatio <score><< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >></score> 5 variatio <score><< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >></score>
|<ref name="dirkb2"></ref>
|-
|8
|psalm 116 J. P.
|Jan Pieterszoon Sweelinck
|
|
|-
|9
|O Lux Beata Trinitas:
|
| <score><< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>></score>
|<ref name="dirkb2"></ref>
|-
|10
|psalm 60 A 2
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|11
|O Gott du unser Vater bist
|Anonymus: Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >></score> 2 variatio <score><<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>></score> 3 variatio <score><< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >></score>
|<ref name="dirkb2"></ref>
|-
|12
|P 23 Mein hütter Undt mein hirtt
|Anonymus: Jan Pieterszoon Sweelinck
|<score><< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >></score>
|<ref name="dirkb2"></ref>
|-
|13
|die 10 Gebott Gottes
|Jan Pieterszoon Sweelinck
|1 variatio <score><< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >></score> 2 variatio <score><< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >></score> 3 variatio <score><< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> } >></score> 4 variatio <score><< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >></score>
|<ref name="dirkb2"></ref>
|-
|14
|Es spricht den unweisen Mundt woll
|Heinrich Scheidemann
|
|
|-
|15
|Fuga Cromatico ex D.la.sol.re.
|
|
|
|-
|16
|Fantasia A. 2: 3: et 4 Vocum
|Anonymus: Jan Pieterszoon Sweelinck
|
|
|-
|17
|Fantasia Super ut re mi fa.sol.la. A. 3. Vocum
|
|
|
|}

After the publishing of 8 more works in Lynar B 2 by [[Pieter Dirksen]] in 1991, two works remain unpublished. The ''Fuga Cromatico'' and ''Fantasia Super ut re mi fa.sol.la.'' were described as "a brief composition employing imitation and simple chromatic lines" and "a pedantic, three-part hexachordal settings, in which the sogetto appears in the bass thirteen times in exactly the same form, constantly alternating between entries on c and G" respectively.

The setting of ''O God die onse Vader bist'' can for now be securely attributed to Sweelinck on the basis of the cantus firmus being a Dutch psalm in addition to stylistic features. Similarly, the setting of Psalm 23 can also be attributed to him, especially based on the similarities to Sweelinck's composition on Psalm 116 (which can be found in other manuscripts).

Confusingly, the manuscript contains a piece titled "fantasia primi / Toni A 4" which is neither a fantasia nor in the first tone. In fact, it is a chorale setting of ''Nun komm, der Heiden Heiland.''

<score><< \relative g' { \clef "treble_8" g1 g f bes a g a g2 r4 g bes2 g a4 g f e d e f g a bes c a bes c d2~ d4 cis8 b cis2_"etc." } \\ \relative g { s1*7 g1 g f bes a g a } \\ \\ \relative g { r2 g bes c d4 c bes a g a bes c d e f d e f g2~4 fis8 e fis2 g d d4 c d e f g a g f e d e f g a f g a g f e2 a } >></score>

It is possible that this heading was written by a different copyist before this work was written at a later date. In any case, this work only uses the first (identical with the last) line of the chorale (which means that this work could be classified as a ''choral ricercare'' or ''choral fugue''), and the contrapuntal writing is strikingly plain and schematic. In fact, this piece has been described as containing a "peculiar monothematic compositional technique, which is probably unparalleled in the surviving corpus of seventeenth century choral settings."

According to [[Pieter Dirksen]], the chorale fantasia ''Ach Gott, vom Himmel sieh' darein'' stands apart from the other works in Lynar B 2, as it transmits a chorale fantasia in the fully mature form. An attribution to [[Heinrich Scheidemann]] is possible. He is the only composer who is known to have composed chorale fantasias before 1650 (actually, this piece was not copied at a later point than the rest of the manuscript, because the same hand can be identified in Lynar B 6 and 7, and the first scribe of the manuscript writes some of the piece). However, this attribution is not secured. Some features which appear in almost all chorale fantasias by Scheidemann such as ''the simpler 'echo' techniques like monodic right-hand echoes, antiphonal echoes or 'trio echoes''', are not found in this work. Also, as shown by [[Michael Belotti]], the practice of showing the Rückpositiv voice in the top line of the manuscript even when it is in the tenor is not found in Scheidemann's music, but it does appear in the Magnificat I. toni by Schildt in the second volume of the [[Zellerfeld Organ Tablatures]].<ref>DirksenScheidemann 114-115.</ref>

The setting of ''O Lux beata Trinitas'' appears to be a result of the early Sweelinck school based on some sixteenth-note figurations that can be found within it. However, it can not be found to be similar to any single composer on stylistic grounds. The ''cantus firmus'' appears in the tenor voice completely un-ornamented in long notes. This arrangement suggests that it can be played in pedal, but the voice rises up to f' which would require a 4-foot stop to be used on an organ with a 27-note pedalboard.

==== References ====
{{NdS2 2009}}

[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

Schierning, 32-34

{{RISM|466000013}}

<references />

=== Lynar B 3 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 3 | Deutsche Orgeltabulatur ca. 1630 | Genannt sind darin: H. Scheide- | mann, J. P. Sweelinck, David Abel, | Andr. Düben, M. D., Peter Hasse, | M. W. C. B. M.'' 
Ms. Lynar B 3. German organ tablature from around 1630. Contains: [[Heinrich Scheidemann]], [[Jan Pieterszoon Sweelinck]], [[David Abel]], [[Andreas Düben]], M. D., [[Peter Hasse]], [[M. W. C. B. M.]]</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 3|url=http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023|imslp=554336}}
----

The numbers are penciled in by a librarian (on the bottom right).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1r || [missing] || || Title is on missing verso side ||
|-
| 1r || Praeludium || || Piece continues on missing verso side. ||
|-
| 1v-2r || Praludium || || ||
|-
| 2v-3r || Praludium || || ||
|-
| 3v-4r || Praludium || || ||
|-
| 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || || ||
|-
| 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] 2 Variation 3 || ||
|-
| 6v-9r || Fantasia / J. P. || || ||
|-
| 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 10v-11r || Praludium / pedaliter || || ||
|-
| 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 12v-12ar || Praludium || || ||
|-
| 12av-13v || Praludium || || ||
|-
| 13v-14r || Praludium || || ||
|-
| 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 15v-18r || Fantasia || || ||
|-
| 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] ||
|-
| 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 25v-26r || Fuga || || ||
|-
| 26v-27r || Ricercar / primi Toni || || ||
|-
| 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 32v-33r || Praambulum / pedaliter || || ||
|-
| 33v-34r || Praambulum / pedaliter || || ||
|-
| 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 36v-37r || Praludium / Pedaliter || || ||
|-
| 37v-38r || Praludium / M. D. O || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 39v- || Praludium / pedaliter || || Fragment ||
|}

==== References ====
{{RISM|466000011}}

<references />

=== Lynar B 4 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 4 | Deutsche Orgeltabulatur ca. 1630. | Genannt nur J. P. Sweelinck, | sonst anonyme Stücke. '' 
Ms. Lynar B 4. German organ tablature from around 1630. Containing pieces by only [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 4|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438100000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

The page numbers (instead of folios) have been penciled in by a librarian.

==== Contents ====

This manuscript contains four pieces:

{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 4
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| || In dich hab ich gehoffet Herr auf 2 Clavier Manualiter || || [[Heinrich Scheidemann]] ||
|-
| || Jesus Christus unser Heylandt auf 2 Clavier pedaliter || || [[Heinrich Scheidemann]] ||
|-
| || Fantasia M. J. P. || || [[Jan Pieterszoon Sweelinck]] ||
|-
| || Fantasia A 3 Vocum per 4 toni || || ||
|}

Only one piece contains an attribution, the initials M. J. P. (=[[Jan Pieterszoon Sweelinck]]). However, the first piece appears in [[D-Lr Mus.ant.pract. K.N. 208/1]] titled ''In dich hab ich gehoffet H.S.M.'', linking the piece to [[Heinrich Scheidemann]] (WV 8<ref name="dirksen">DirksenScheidemann, xviii.</ref>). The second piece is also composed by Scheidemann based on concordances in [[Zellerfeld Organ Tablatures]] vol.1 and the [[Pelplin Tablatures]] (WV 10).<ref name="dirksen"></ref> The fourth piece is a transposed parody of the [[Samuel Scheidt]] ''Tabulatura Nova'', vol. 2 no.6.

==== References ====
{{RISM|1001048776}}

Schierning, 31.

<references />

=== Lynar B 5 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 5 | Deutsche Orgeltabulatur ca. 1630 | Darin 1 Choralbearbeitung von | Jakob Praetorius (unvollständig)'' 
Ms. Lynar B 5. German organ tablature from around 1630. Contains one choral work from [[Jacob Praetorius]] (incomplete).</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 5|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438200000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:PPN1032686251 00000006.jpg|thumb|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]
This manuscript contains one piece, a fragment of a [[Chorale Fantasia]] ''Durch Adams Fall ist ganz verderbt'' auff 3 clavier by [[Jakob Praetorius]]. The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''<ref>[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.</ref>.

==== References ====
{{RISM|1001048780}}

Schierning, 37-38.

<references />

=== Lynar B 6 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 6 | Deutsche Orgeltabulatur ca. 1630 | Enthält 1 Toccata von Heinrich | Scheidemann'' 
Ms. Lynar B 6. German organ tablature from around 1630. Contains one toccata by [[Heinrich Scheidemann]].</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 6|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438300000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 6''' contains a manualiter Toccata auf 2 clavir (WV 43) by [[Heinrich Scheidemann]] on 10 pages.

An autograph manuscript of this piece has been discovered in [[D-W Cod. Guelf. 8 Noviss. 2/o]]. Besides this, copies are also found in many other manuscripts including the first volume of the [[Zellerfeld Tablatures]], [[D-W Ms. 227]], and various different (corrupted) forms in [[D-Lr Mus.ant.pract. K.N. 208-1]] and [[D-Lr Mus.ant.pract. K.N. 209|209]], and [[D-B Am.B 340]] (the last three manuscripts transmit the piece in a "pedaliter version" and are assigned WV number 43a by Dirksen).

Before the discovery of the Wolfenbuttel manuscript, Breig stated that the copy in '''Ze 1''' is likely the most accurate.

==== References ====
{{RISM|1001048781}}

[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft 3. Wiesbaden: Franz Steiner, 1967. 87-93, 108.

DirksenScheidemann xvii, 3-5.

<references />

=== Lynar B 7 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 7 | Deutsche Orgeltabulatur ca. 1640. | Enthält Psalmen und Choräle, alle anonym'' 
Ms. Lynar B 7. German organ tablature from around 1640. Contains psalms and chorales, all anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 7|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438500000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:Lubbenauer.jpg|right|thumb|The heading to Psalm 100 in Lynar B 7]]
Ms. Lynar B 7 consists of single- and multi-verse settings of various Genevan psalms and the chorale ''Erhalt uns, Herr, bei deinem Wort''.

This manuscript was published by [[Pieter Dirksen]] in 1996.

==== Description ====
The header of each piece is stylized by a three-pronged symbol followed by the number of the psalm. Some verses are also marked "3 voci" or "Corall in tenor" for example.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 7
|-
! fol. !! Title !! Incipit !! Notes
|-
| {{TT|1r-2r}} || P 66 || <score>{ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }</score> 2. V. <score>{ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }</score> ||
|-
| {{TT|2v-3r}} || P 5 || <score>{ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }</score> 2 Vari / in Basso <score>{ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }</score> 3 V. / im Tenor <score>{ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }</score> ||
|-
| {{TT|3v-5r}} || P 116 || <score>{ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }</score> 2 Vari: <score>{ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }</score> 3. Vari / Corahll in / Tenor <score>{ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }</score> 4 Variatio / a 4 <score>{ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }</score> ||
|-
| {{TT|5v-7r}} || P 100 || <score>{ \time 4/2 \clef alto << \relative a' { a1 b g2 c2*1/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g2*1/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }</score> [2 V] <score>{ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }</score> 3 variation <score>{ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }</score> [4 V] <score>{ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }</score> || Written in second hand
|-
| {{TT|6v-7r}} || Erhalt uns / Herr beij / deinen wortt || <score>{ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }</score> 2 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }</score> 3 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2*1/2 } \\ \relative ees { ees8 d c b r c b a g2*1/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }</score> || Written in second hand
|-
| {{TT|7v-8r}} || P 24 || <score>{ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }</score> 2 V. / a 3 <score>{ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }</score> ||
|}

==== Analysis ====
Dirksen states that the pieces in this manuscript can be conclusively connected with the Netherlands. While such psalm variations (and the psalm melodies themselves) are ''wholly unknown'' in Germany, they were abundantly found in the Netherlands, always in ''variation'' form (instead of German forms such as the [[Chorale Fantasia]]).

According to Dirksen, the five psalm melodies found in '''Ms. Lynar B 7''' were the most popular melodies from the Genevan Psalter during this time period.

The psalm variations ''are marked by a great unity of style''. On the other hand, the setting of ''Erhalt uns, Herr, bei deinem Wort'' is found to be slightly more sophisticated, and it has more rhythmic and harmonic variety. The compositions share a number of recurring musical patterns with pieces by [[Jan Pieterszoon Sweelinck]], but the pieces are too conservative in character to have been composed by him. They were likely written by another composer who lived around the same time. They were probably brought to the German-speaking lands by a student of Sweelinck who copied them into tablature notation.

==== References ====
{{RISM|1001048782}}

[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996.

<references />

=== Lynar B 8 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 8 | Deutsche Orgeltabulatur ca. 1630. | darin der Siefertschüler Andreas | Neunaber vertreten'' 
Ms. Lynar B 8. German organ tablature from around 1630, containing [[Andreas Neunhaber]], the student of Siefert.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 8|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains two pieces, "Ich ruff zu / dir herr / Jesu Christ / auff 2. clavier" and "Alio modo / auff 2. und 3. / Clavir, und auff der / Pedal zu gebrauch: / Anton Neunhaber." These are thought to be two verses of the same piece by [[Andreas Neunhaber]] (Max Seiffert made the connection from Anton -> Andreas Neunhaber).

==== Description ====
Unlike all of the other Lynar B tablatures, this manuscript splits the octave at 'h' instead of 'c'.

[[Lydia Schierning]] said that Neunhaber was only the composer of the second piece and that it is possible the scribe was planning to create a larger compilation of chorale settings on this chorale tune by different composers.

The second piece is in five voices and has detailed manual change indications written into the tablature.<ref>[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.</ref>

==== Contents ====
<score><<
\new Staff \relative a' { \mark "1" \time 4/2 r2 a f4 e8 f g4 f8 g f8 g f e d c d e f16 e f g f g a f g f g a g a bes g a1 }
\new Staff \with { \clef bass } << \relative f { f1 a2 c a bes a e f4 d2 cis4 } \\ \relative d { d1 d2 e f g d c f,4. g8 a2 } >>
>></score>

<score><<
\new Staff \relative a' { \mark "2" \time 4/2 r1 r1 r1 a f2 g f8 g e f d g d e }
\new Staff \with { \clef bass } << \relative a { r1 r4 a f g f d f g f2 e d2. e4 a2 bes } \\ \relative a { r4 a f g f d d8 c bes4 a f a8 d bes c a4 d d cis d bes bes c d2 g } >>
>></score>

==== References ====
{{RISM|1001048783}}

Schierning, 39.

<references />

=== Lynar B 9 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 9 | Deutsche Orgeltabulatur ca. 1630 | 2 anonyme Praeludien.'' 
Ms. Lynar B 9. German organ tablature from around 1630. Two anonymous preludes.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 9|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438800000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

Both preludes were edited by [[Partitura Organum]] in 2019.

==== Description ====
Both preludes are typical of the north-German präludium.

Some notes are not visible on the edge of the left page.

==== Contents ====
[[File:Lynar b 9.jpg|thumb]]

<score><<
\new Staff << \relative e'' { \mark "Praeludium 1" e1 f2 e d4 e f2 e1 a,2. 4 a2 d~ d d c2 a4 b } \\ \relative a' { a1 a2 a a1 e2 e~ e4 e e2 f4 g a2~ a a a r2 } >>
\new Staff \with { \clef alto } << \relative cis' { cis1 d2 e f4 e d2 cis2 cis~4 4 2 d4 e f2~ f f e1 } \\ \relative a { a1 a2. 4 a1 a r1 r2 a~a a4 b c a c d } >>
\new Staff \with { \clef bass } \relative a, { \time 4/2 a1 d2 cis d1 a2 a'~ a4 a a2 d,2. e4 f d f g a1 }
>></score>

<score><<
\new Staff << \relative c'' { \mark "Praeludium 2" \time 4/2 c1 d4. ees8 d4 c bes2 bes~ bes4 c8 bes a4 g a1 } \\ \relative f' { f1 f f f f4 e8 d c4 d } >>
\new Staff \with { \clef bass } << \relative a { a1 bes2 bes4 c d1 c2. bes4 c2 a4 bes } \\ \relative f { f1 bes, bes4 c d e f1 f } >>
>></score>

==== Scores ====
'''Prelude 1:''' [https://partitura.org/index.php/anonymus-praeludium/ partitura.org], 31 October, 2019. ([https://partitura.org/wp-content/uploads/2019/10/Anonymus-Lynar-B9-Praeludium-1.pdf Score]) Accessed 14 January, 2023.

'''Prelude 2:''' [https://partitura.org/index.php/anonymus-praeludium-2/ partitura.org], 5 November, 2019. ([https://partitura.org/wp-content/uploads/2019/11/Anonymus-Lynar-B9-Praeludium-2.pdf Score]) Accessed 14 January, 2023.

==== References ====
{{RISM|1001048784}}

Schierning, 39.

<references />

=== Lynar B 10 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 10 | Deutsche Orgeltabulatur ca. 1640. | Inhalt 1 anonyme Choralbearbeitung'' 
Ms. Lynar B 10. German organ tablature from around 1640. Contains one anonymous choral work.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 10|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438900000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains one piece, anonymous ''Sei nun wieder zufrieden'' a 3. The composition ends after the first system on the third page, the final symbol is a cut time signature.

The texture of the piece is very odd compared to all the other pieces contained in the Lynar Tablatures.

<score><<
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor g1 a2 bes2 bes c d d r r d d d4. g,8 c2. c4 | bes1 bes2 bes1 a2 bes1 r2 R1. R1. R1. r2 f' ees }
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor R1. g1 a2 bes2 bes c d bes bes bes a2. a4 bes2. c4 d2 c2 c1 bes2 bes c d2. ees4 c2 bes2 bes r2 R1. r2 d c }
\new Staff \with { \clef bass } \relative g { \time 3/2 \key g \minor g1 f2 ees1 c2 bes1 a4 g f2 g d ees f1 g2. a4 bes2 ees,2 f1 bes2 bes' a g g, a bes bes c d2. ees4 f2 | bes1 c2 }
>></score>

Actually, it appears that it is an intabulation of a cantata instead of an original organ piece (Scierning says that it seems to have been written for two sopranos and basso continuo).

The title is from Psalm 116, verse 7.

==== References ====
{{RISM|1001048785}}

Scierning, 106

<references />

=== Lynar C ===
'''Lynar C''' (also called C 1 or B 11{{Citation needed}})contains anonymous polyphonic settings of the 150 genevan psalms (actually only 124 settings, because of the reuse of psalm tunes). It is written on 119 sheets in [[New German Tablature Notation]].

The settings are extremely simple. It appears that this was a psalm-book that used privately by people gathered together, who would sing the psalms, or play them on all different instruments, at social gatherings (or it was a copy of this type of book).

''The current status of '''Ms. Lynar C''' is not clear. It is not found in the [https://stabikat.de] database under the shelfmark "Ms. Lynar C" or "Lynar B 11"<ref>See [https://stabikat.de/Search/Results?lookfor=ms.+lynar*&type=ShelfMark&limit=20], accessed 31 October, 2023.</ref>.''

==== References ====
Schierning, 106-109.

<references />

[[Category:Manuscripts|Lynar]]
[[Category:Tablatures|Lynar]]
[[Category:German manuscripts|Lynar]]

Pieter Cornet

2024-01-12T22:22:17Z

WillsSchoolAccount: Redirected page to Peeter Cornet

#REDIRECT [[Peeter Cornet]]

Peeter Cornet

2024-01-12T22:21:55Z

WillsSchoolAccount: Created page with "'''Peeter Cornet''' (1575?-1633, or ''Pieter''<ref>Dirksen, 126</ref>) was a Flemish organist and composer. == Life == Peeter Cornet was a member of a highly active Cornet family, who were also musicians active in Brussels. His date of birth is unknown, but theorized to be around 1575. In 1603, he was paid as an organist at St. Nicholas, Brussels. In 1615, he was hired as an advisor to St. Rombout, Mechelen, as they sold their organ. On April 17, 1611, Cornet relenqu..."

'''Peeter Cornet''' (1575?-1633, or ''Pieter''<ref>Dirksen, 126</ref>) was a Flemish organist and composer.

== Life ==
Peeter Cornet was a member of a highly active Cornet family, who were also musicians active in Brussels.

His date of birth is unknown, but theorized to be around 1575.

In 1603, he was paid as an organist at St. Nicholas, Brussels. In 1615, he was hired as an advisor to St. Rombout, Mechelen, as they sold their organ.

On April 17, 1611, Cornet relenquished a canonry in Soignies to marry Marie Cuypers.

On March 27, 1633, Peeter Cornet passed away. He was burried on March 30 at ''savel kerck'', Brussels.

The existence of [[B-Lu Ms. 153]], a manuscript dating to 1617 from prominent composers from the south Netherlands but no works by Cornet, suggests that Peeter Cornet may have composed his pieces after this date.<ref>Dirksen, X</ref>

== Analysis ==
Dirksen and Ferrard state that unlike his contemporaries like Sweelinck (who produced more vocal music than keyboard music), Peeter Cornet seems to stand apart as a "keyboard specialist", and there is no evidence that he produced vocal music.<ref>Dirksen, X</ref>

<blockquote>This sharp delimitation left an unmistakable stamp on the style of Cornet's music, which is characterized by great freedom and improvisatory manner throughout. A comparison with Jan Pieterszoon Sweelinck (1562-1621), Cornet's great adversary in the North, is illuminating. Sweelinck started to write keyboard music only after he had become a complete master of late-Renaissance vocal polyphony. His principal aim in the novel field of keyboard composition was to create something equal to this, thus developing an idiomatic type of keyboard polyphony in which strict voice leading, absense of voice-crossings and close integration of figration and counterpoint are the main hallmarks. ... All these traits are conspicuously missing from Cornet's music. Though his principal technique is also imitative counterpoint, his music is clearly the manifestation of an improvising organist and, if the source situration is anything to go by, he seems to have came only late in life to committing music to paper.<ref>Dirksen, X-XI</ref></blockquote>

== Works ==
{| class="wikitable"
|+ Surviving works by Peeter Cornet
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[PL-Kj Mus.ms. 40316]] f.25r-26r || style=width:15em; | Toccada del 9 Tono di M: pietro Cornet || || ||
|-
| [[PL-Kj Mus.ms. 40316]] f.20v-22v || Fantasia del primo Tono di maestro pietro Cornet || || ||
|-
| [[PL-Kj Mus.ms. 40316]] f.22v-25r || Fantasia del 2. Tuono di M Pietro Cornet || || ||
|-
| [[PL-Kj Mus.ms. 40316]] f.16v-17r || Fantasia del 5.o Tuono di mro Petro Cornet Organista della S.ma Infanta sopra ut, re, me, fa, sol, la || || ||
|-
| [[PL-Kj Mus.ms. 40316]] f.65r-65v || Fantasia 8. Toni del Sig.r Pietro Cornet mandatomi alli 3o 7tembre 1625 || || ||
|-
| [[D-B Ms. Lynar A 1]] p.313-315 || Fantasia / pieter Cornet || || ||
|-
| [[GB-Och Mus.ms. 89]] p.335-340 || Fantasia. P. Cornet: || || ||
|-
| [[PL-Kj Mus.ms. 40316]] f.17v-19v || Fantasia 9 Toni di M: petro Cornet. || || ||
|-
| [[GB-Och Mus.ms. 89]] p.326-334 || Regina caeli: || || end: ''P.C.'' ||
|-
| [[PL-Kj Mus.ms. 40316]] f.28r-30r || Salve [regina] di Maestro petro Cornet || || ||
|-
| [[D-B Ms. Lynar A 1]] p.310-312 || Tantum Ergo / De: pieter Cornet || || ||
|-
| [[PL-Kj Mus.ms. 40316]] f.61r-62v || Courante dal S. Pietro Cornet Organista de la S.ma Infanta in Brusselles. Mandetomi da luy a di 6. 9uebre 1624. || || ||
|-
| [[PL-Kj Mus.ms. 40316]] f.62v || 2.a Corranta dal Sig.r Pietro Cornet || || ||
|-
!colspan="5"|Anonymously transmitted works
|-
| [[GB-Lbl Add.ms. 23623]] f.113r-122r || Fantasia, / Sexti toni, / A.4. / Du / Jan Bull: / Doct: || || ||
|-
| [[GB-Och Mus.ms. 89]] p.341-345 || [Te Deum] || || ||
|-
| [[PL-Kj Mus.ms. 40316]] f.19v-20r || Aria del gran Duca || || ||
|}

The anonymous pieces were included by [[Pieter Dirksen]] on the following principles<ref>Dirksen, VIII-IX</ref>:
* The setting of the ''Ballo del granduca'' is included as the attribution is ''stylistically not implausible'' (especially considering ''characteristic free metre'' appearance in this piece).
* The fragmented versets on the [[Te Deum]] is attributed on stylistic grounds.
* The attribution of the fantasia in [[GB-Lbl Add.ms. 23623]] f.113r-122r to Peeter Cornet was suggested by [[Thurston Dart]] and [[Walker Cunningham]] based on a few stylistic features such as ''a more straightforward imitative and figural style''.

An untitled fantasia which appears in [[GB-Och Mus.ms. 89]] p.322-325 is almost surely not by Cornet, even though the beginning 30 bars is identical with the ''Fantasia primi toni'' in [[PL-Kj Mus.ms. 40316]] f.20v-22v.

== References ==
[[Pieter Dirksen|Dirksen, Pieter]] and [[Jean Ferrard|Ferrard, Jean]] (editor). ''Peeter Cornet: Complete Keyboard Music.'' [[Monumenta Musica Neerlandica]] 17. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 2001.

[[Category:Composers|Cornet, Peeter]][[Category:Organists|Cornet, Peeter]][[Category:Flemish composers|Cornet, Peeter]][[Category:Flemish organists|Cornet, Peeter]][[Category:Baroque composers|Cornet, Peeter]][[Category:Baroque organists|Cornet, Peeter]][[Category:Dutch|Cornet, Peeter]][[Category:Baroque|Cornet, Peeter]]

D-B Am.B 340

2024-01-12T20:18:02Z

WillsSchoolAccount:

'''D-B Am.B 340''' is a manuscript held in the ''Staatsbibliothek'', Berlin. It was written by an unknown scribe in 1664.

== Links ==
{{OnlFac|sig=D-B Am.B 340|url=http://resolver.staatsbibliothek-berlin.de/SBB00005DFB00000000|urlc=digital.staatsbibliothek-berlin.de|date=21 November, 2023}}

== References ==
{{RISM|466000008}}

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. 56.

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

[[Geoffrey Webber|Webber, Geoffrey]]. "New Evidence Concerning the Transmission of Styles in Seventeenth-Century German Organ Music: MS Berlin, Amalien-Bibliothek 340". [[The Organ Yearbook]] 17, 1986. p.81-88.

''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.

[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Baroque Manuscripts]][[Category:German]][[Category:Baroque]]

Lüneburg Tablatures

2024-01-11T22:10:48Z

WillsSchoolAccount:

In addition to historical manuscripts of all different music, the ''Ratsbucherei'', Luneburg, contains a large collection of manuscripts written in [[New German Tablature Notation]]. This collection, referred to as the '''Luneburg Tablatures''' has stood as one of the cornerstones of North-German early organ music since the 19th century. Along with other collections such as the [[Lynar Tablatures]] and [[Zellerfeld Organ Tablatures]], it transmits a large percentage of organ music from this time period, including many pieces (and even composers) that are not found in any other manuscript.

{{Stub}}

== History ==
The collection of manuscripts at Lüneburg were some of the first manuscripts of early music known to musicologists. As early as 1827, the collection of manuscripts was mentioned by A. Martini<ref>Welter, V</ref>.

== K. N. ==
All of the ''Lüneburg Tablatures'' which are of interest to organ musicologists have a signature of form '''Mus.ant.pract. K. N. 209''', etc. The manuscripts were originally known only by the "K. N." signature, the ''Mus.ant.pract.'' classifier was added later. The K. N. signatures must have been applied in the 19th century; apparently, the meaning of "K. N." has been forgotten<ref>Welter, VI footnote 8: ''Diese stammen vermutlich aus dem 19. Jh. ...Eine bündige Erklärung ihrer Bedeutung konnte jedochnicht gegeben werden.''</ref>. ''Mus.ant.pract.'' refers to manuscripts before 1850 (as opposed to ''Mus.pract.'')<ref>Welter, V-VI</ref>.

== Manuscripts ==
''See also: '' [[:Category:Lüneburg Tablatures]]

== References ==
Görges, W.. ''Zur Geschichte der Stadtbibliothek.'' (Progr. d. Johanneums Lüneburg) 1880.

[[Friedrich Welter|Welter, Friedrich]]. ''Katalog der Musikalien der Ratsbücherei Lüneburg.'' Lippstadt: Kistner & Siegel, 1950.

Nicolaus Bruhns

2024-01-11T16:45:00Z

WillsSchoolAccount:

'''Nicolaus Bruhns''' (1665-1697)

''NOTE: this article was [partially] automatically generated from an entry submitted to '''wvlist.net'''. You can help add pictures and more information to this article!''

{{Stub}}[[Category:Persons]][[Category:WVlist pages]]

== WVlist Notes ==
<blockquote><nowiki>All known organ works listed according to edition by Klaus Beckmann (ED 9785). Fragment of Preludium in G Major from Möllerschen Handschrift is also included, as well as an ornamented copy of "Nun Komm, der Heiden Heiland" by J. F. Agricola</nowiki> -William Rehwinkel, Feb 21, 2022</blockquote>

<blockquote><nowiki></nowiki> -William Rehwinkel, May 9, 2022</blockquote>

<blockquote><nowiki>Cantatas are from Nicolaus Bruhns: Gesammelte Werke, ed. Fritz Stein. Braunschweig: Henry Litolff, 1937. Das Erbe Deutscher Musik I-II.</nowiki> -WR, Nov 10, 2022</blockquote>

== Works ==
[[File:Bruhns great em.jpg|thumb|right|The first page of the Prelude in E Minor by [[Nicolaus Bruhns]]]]
The organ works by Bruhns survive in the following sources:
* The [[Möller Manuscript]], which contains the Preludium in E Minor, copied by [[Johann Christoph Bach]]<ref>{{NdS2 2009}} 535.</ref> (as well as a fragment of the Preludium in G Major).
* The [[Schmahl Organ Tablatures]] (and a 19th-century copy of it), containing the Prelude in E Minor.
* A collection of four manuscripts which are all descendants of a fifth, [[B-Bc 26659]] written by [[Johann Friedrich Agricola]]. Each manuscript contains the Preludium in G Major and a version of ''Nun komm der Heiden Heiland'' with more ornamentation inserted by Agricola.
** An ostensibly more original copy of ''Nun komm der Heiden Heiland'' is found in the [[Johann Gottfried Walther]] manuscript [[D-B Mus.ms. Bach P 802]].
* [[D-B Mus.ms. 30381]], including a Preludium in G Minor by ''Mons: Prunth.''
* [[DK-Kk mu 7503.0234]], which includes a fragment of another preludium.

{| class="wikitable"
|+ Surviving organ works by Nicolaus Bruhns
|-
! Source(s)<ref>Beckmann, Klaus (editor). ''Nicolaus Bruhns: Sämtliche Orgelwerke.'' Meister der Norddeutschen Orgelschule 13. [earlier edition, not including Brunckhorst] Mainz: Schott, 2004.</ref> !! Title !! Incipit
|-
|[[Möller Manuscript]] f.97v-100r
|Praeludium in E Minor, Groß
|<score>{\relative e' { r8 e16 e' dis fis, gis d' cis }}</score>
|-
| [[Schmahl Organ Tablatures]] [[D-B Mus.ms. 30147]] p.25-29
|Praeludium in E Minor, Kleine
|<score>{\clef bass \key e \minor \relative e { \repeat tremolo 2 { e16 g } \repeat tremolo 2 { fis16 a } \repeat tremolo 2 { g16 b } \repeat tremolo 2 { a16 c } }}</score>
|-
|[[Möller Manuscript]] f.54v [[B-Bc 26659]] f.25r-27v [[D-B Mus.ms. 2683]] f.26v-29v [[D-B Am.B 462]] p.56-63 [[D-B Am.B 430]] p.56-63 [[D-B Mus.ms. 2681/1]] f.28v-32r
|Praeludium in G Major
|<score>{<< \relative g'' { r16 g fis e d c b a b} \\ \relative b' { r8 r16 g fis e d c d } >>}</score>
|-
|[[DK-Kk mu 7503.0234]] f.8v-9r
|Adagio in D Major (Frag.)
|<score>{\key d \major << \relative a' { r8 a d c c4. bes8 bes2*1/2 } \\ \relative d' { r2 d2 d2*1/2 } \\ \\ \relative a' { r2 a2~a4 } >>}</score>
|-
|[[D-B Mus.ms. Bach P 802]] p.162-175 ''Ornamented:'' [[B-Bc 26659]] f.28r-30r [[D-B Mus.ms. 2683]] f.30r-35r [[D-B Am.B 462]] p.64-75 [[D-B Am.B 430]] p.64-75 [[D-B Mus.ms. 2681/1]] f.32v-38v
|Nun Komm, der Heiden Heiland
|<score>{\clef alto \relative g { g2 g fis bes a4 }}</score>
|}

In 2006, the ''Prelude in G Minor'' which had previously been attributed to Bruhns was found to have been similarities with [[Arnold Matthias Brunckhorst]] by [[Dietrich Kollmannsperger]] (see [[Arnold Matthias Brunckhorst#Prelude in G Minor]]).

== Editions ==
{{Stub}}

''Note: "Three praeludiua" does not include the Prelude in G Minor.''

Listed in Chronological order:

* [[Alexandre Guilmant]], editor. ''Choral: Nun Komm der Heiden Heiland''. Ecole Classique de L'orgue. Paris: Durand, 1900. <ref>[https://imslp.org/wiki/Special:ReverseLookup/177215 imslp.org], accessed 21 July, 2023.</ref>
(Ornamented)

* [[Max Seiffert]], editor. [[Organum IV]] vol. 8. ''Leipzig,'' Kistner & Siegel, undated
Contains three Praeludia only.

* [[Fritz Stein]], editor. ''Nicolaus Bruhns: Gesammelte Werke.'' Erbe deutscher Musik. Zweite Reihe, Landschaftsdenkmale. Schleswig-Holstein und Hansestädte; vol. 1-2. Braunschweig: H. Litolff, 1939.
Contains three Praeludia and ''Nun Komm der Heiden Heiland'' (ornamented).

* [[Klaus Beckmann]], editor. ''Nikolaus Bruhns: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1972.

* [[Michael Radulescu]], editor. ''Nicolaus Bruhns: Orgelwerke.'' Wien: Doblinger, 1993.

* [[Harald Vogel]], editor. ''Bruhns: Sämtliche Orgelwerke''. Wiesbaden: Breitkopf & Härtel, 2008.<ref>[https://www.breitkopf.com/work/1462/complete-organ-works www.breitkopf.com], accessed 21 July, 2023.</ref>

* [[Klaus Beckmann]], editor. ''N. Bruhns/A. M. Brunckhorst: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 13. Mainz: Schott.<ref>[https://www.schott-music.com/en/saemtliche-orgelwerke-noc185472.html www.schott-music.com], accessed July 21, 2023.</ref>

==References==
''See notes''

<references />

[[Category:Persons|Bruhns, Nicolaus]]
[[Category:Composers|Bruhns, Nicolaus]]
[[Category:Baroque Composers|Bruhns, Nicolaus]]
[[Category:Organists|Bruhns, Nicolaus]]
[[Category:Baroque|Bruhns, Nicolaus]]
[[Category:Norddeutsche Orgelschule|Bruhns, Nicolaus]]

Arnold Matthias Brunckhorst

2024-01-11T16:42:31Z

WillsSchoolAccount: /* Prelude in G Minor */ wrong volume number

[[File:Brunckhorst title.jpg|thumb|right|The heading to the Prelude and Fugue in E Minor by Brunckhorst]]
'''Arnold Matthias Brunckhorst''' (1670?-1725) was an organist and composer.

In 2006, the Prelude in G Minor previously thought to be composed by [[Nicolaus Bruhns]] was connected to Brunckhorst by [[Dietrich Kollmansperger]].

== Life ==
Brunckhorst worked in Hildesheim from 1693-1697. After this he went to the Stadtkirche in Celle. During this time he worked for Duke Georg Wilhelm of Brunswick-Lüneburg. In 1720, he became the Hanover court organist. He passed away in 1725.

Brunckhorst also worked as an organ tester.

<blockquote>Around 1700 he may have met the young [[Johann Sebastian Bach|J.S. Bach]] on one of his visits from Lüneburg to hear the duke’s famous French instrumentalists.<ref>Schröder</ref></blockquote>

== Prelude in G Minor ==
[[File:Prunth.jpg|thumb|right|The title-page to the Prelude and Fugue in G Minor by a certain "Mons Prunth"]]

When [[D-B Mus.ms. 30381]] was discovered, the Prelude in G Minor by "Mons. Prunth" was attributed to [[Nicolaus Bruhns]] by [[Martin Geck]]. While this attribution remained, it was not considered entirely satisfactory, and other possibilities were considered. This piece was also previously speculated to be composed by his brother [[Georg Bruhns]], although no works survive from him.<ref>Beckmann, Klaus (editor), ''Nicolaus Bruhns: Sämtliche Orgelwerke.'' Meister der Norddeutschen Orgelschule 13 [earlier edition, not including Brunckhorst]. Mainz: Schott, 2004.</ref>

In March 2006, [[Dietrich Kollmansperger]] published an article in [[Ars Organi]] in which he proposed that the piece was in fact composed by Brunckhorst. Unlike the three other preludes by Bruhns, this piece is only in two parts, a prelude and a fugue. Additionally, the Prelude in G Minor contained a ''rhythmic continuality''<ref>Kollmansperger: "eine rhythmische Kontinuität"</ref> that was not present in the other works but can be found in the '''Prelude in E Minor''' by Brunckhorst.

Kollmansperger showed stylistic similarities between the Preludes in E Minor and G Minor, such as the beginning of both pieces and the ending of the Prelude (first half) in which both pieces go into an adagio section before the fugue.

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative dis'' { \mark "E Minor" \key e \minor e16 g fis g e g e b dis e fis e dis e dis cis <dis b>2 \tempo "Adagio" r8 <dis fis>8 8 8 | e8 d d d d c c c }
\\
\relative fis' { g16 b a b g b g e fis g a g fis g fis e | fis2 r8 b8 b b | b8 r8 r8 gis a4 r8 a }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key e \minor R1 | b2 r8 dis8 8 8 | e8 r8 r8 8 <a e'>4 r8 <a fis'> }
\\
\relative b, { e4 r8 e b4 r8 fis | b2 r8 b a a gis r r e a4 r8 dis8 }
>>
>></score>

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative fis' { \mark "G Minor" \key g \minor fis16 a g fis g bes a g fis a g fis g bes a g | fis2 \tempo "Adagio" r8 a bes c d4~8 bes c4~8 a }
\\
\relative fis' { d4 r r r8 ees8 | d2 r2 | r8 f g4 r8 g fis4 }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key g \minor a16 c bes a bes d c bes a c bes a bes d c bes | a2 r2 | r8 bes bes4 r8 ees d4 }
\\
\relative b, { r4 r r r8 c | d2 r2 | r8 d ees4 r8 c d4 }
>>
>></score>

[[Klaus Beckmann]] responded to this article in [[Ars Organi]] in June 2006. He agreed with the findings by Kollmansperger, and furthermore pointed out that the use of the neopolitan 6th in both adagio sections is an unmistakable fingerprint of the same composer.

For even more evidence of the connection beyond stylistic grounds, Beckmann pointed out that ''Prunth:'' was a realistic mispelling of "Brunckhorst" (Brunckh -> Prunckh -> Prunkh -> Prunth), and that the surviving harpsichord sonata by Brunckhorst is signed ''di Mons. Brunckhorst''. It is possible that the sonata was signed ''Mons[ieur] Brunckhorst''.

In closing, Klaus Beckmann wrote that the case of Brunckhorst over Bruhns was ''a convincing, almost certainly correct solution'' based on ''rare clarity'', for which Kollmansperger was deserving of thanks and recognition. Afterwords, he re-issued the 13th volume of [[Meister der Norddeutschen Orgelschule]] containing the complete works of Bruhns (which had been previously published in 2004) as a two-composer volume including Arnold Matthias Brunckhorst, including both of his compositions.

== Works ==
{| class="wikitable"
|+ Organ works by Arnold Matthias Brunckhorst
|-
! Source !! Title !! Incipit !! Notes !! ref.
|-
!colspan="5"|Organ works
|-
| [[D-LEm Becker II.2.51]] part 5, p.16-19 || Praeludium / ex E. m. / A. m. Brunckhorst || Prelude <score>\relative e'' { e16 g fis e dis cis b a g a b a g }</score> Fugue <score>\relative e' { \time 4/2 r8 e g e b'4 c b g a b }</score> || || <ref>[http://digital.slub-dresden.de/id454398573/134 sachsen.digital], accessed 11 August, 2023. Mirrored: {{IMSLP|870142}}</ref><ref>{{RISM|225006522}}</ref>
|-
| [[D-B Mus.ms. 30381]] No 4 || Praludium con Fuga. ex G b. / pedaliter. / di / Mons: Prunth. || Prelude <score>\relative g'' { \key g \minor r16 g fis g d g fis g c, g' fis g bes, }</score> Fugue <score>\relative g' { \key g \minor r8 g bes c d d d d | bes8. a16 g8 }</score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00027AC100000000 digital.staatsbibliothek-berlin.de], accessed 11 August, 2023. Mirrored: {{IMSLP|870141}}</ref><ref>{{RISM|455038261}}</ref>
|-
!colspan="5"|Keyboard works
|-
|[[D-B Mus.ms. 30382]] f.86r-87v
|Sonata ex A #. / di / Mons: Brunckhorst.
|
|
|<ref>{{RISM|455038336}}</ref><ref>[http://resolver.staatsbibliothek-berlin.de/SBB0001A74900000000 digital.staatsbibliothek-berlin.de], accessed 16 August, 2023.</ref>
|}

== References ==
{{NdS2 2009}} 547.

[[Klaus Beckmann|Beckmann, Klaus]]. "Diskussion: Zur Neuzuweisund des Praeludiums g-Moll di Mons: Prunth. an Arnold Matthias Brunckhorst." [[Ars Organi]] 54. Jfg. Heft 2, June 2006. p.111-112.

[[Dietrich Kollmansperger|Kollmansperger, Dietrich]]. "'Mons: Prunth', Präludium g-Moll: Eine Neuzuweisung." [[Ars Organi]] 54. Jfg. Heft 1, March 2006. p.30-31.

[[Dorothea Schröder|Schröder, Dorothea]], ''Brunckhorst, Arnold [Andreas] Matthias [Melchior, Martin],'' 20 January, 2001. [https://doi-org.ezproxy.oberlin.edu/10.1093/gmo/9781561592630.article.04162 Grove Music Online], accessed 11 August, 2023.

[[Category:Baroque Composers|Brunckhorst]]
[[Category:Composers|Brunckhorst]]
[[Category:Baroque|Brunckhorst]]
[[Category:Norddeutsche Orgelschule|Brunckhorst]]

D-B Mus.ms. 30381

2024-01-11T16:37:54Z

WillsSchoolAccount:

'''D-B Mus.ms 30381''' is a manuscript held at the ''Staatsbibliothek'', Berlin. It is a collection of 8 manuscripts containing 10 total pieces, and was written around 1700-1780.

== Description ==
This collection of manuscripts was previously owned by [[Eduard Grell]], who's name is on the cover. The initials "HGS" are also visible.

== Works ==
On the title page of the manuscript, the names of the ten works are listed.

In addition to each manuscript being numbered 1-8, the pages are numbered in pencil from 1-51 (continuously, not restarting on each manuscript).

{| class="wikitable"
|+ Caption text
|-
! Man. !! Pages !! Composer !! Title !! Incipit !! Notes !! Ref.
|-
| 1 || 1-11 || [[Johann Ludwig Krebs]] || Praeludium und Fuga. v. S. Bach. || <score><< \relative f'' { \key f \minor \time 6/8 f8. g32 aes g f e16 } \\ \relative f' { r8 <f aes c> <g bes des>} >></score> || KrebsWV 407 Penciled in: ''Joh- Ludwig Krebs / vgl. mus.ms. 30194 Nr. 44'' [see [[D-B Mus.ms 30194]]] || <ref>{{RISM|455038256}}</ref>
|-
|rowspan="3"|2 || 13-15 || [[Johann Pachelbel]] || Fuga v. Pachelbel. || <score>\relative a { \clef bass a1 d,2 bes' cis, a' }</score> || PerP 271 || <ref>{{RISM|455038257}}</ref>
|-
| 16-17 || [[Johann Heinrich Buttstett]] || Fuga v. Buttstät. || <score>\relative a { \key d \major \clef bass a8 16 16 8 8 b a16 g fis8 }</score> || || <ref>{{RISM|455038258}}</ref>
|-
| 18-19 || [[Andreas Werckmeister]] || Fuga v. Werkmeister. || <score>\relative c'' { \clef soprano c8 c c c b16 c b c b c }</score> || Title of piece: ''Cantzon.'' || <ref>{{RISM|455038259}}</ref>
|-
| 3 || 21-25 || [[Dietrich Buxtehude]] || Prael con Fuga v. Buxtehude. || <score>\relative e'' { \clef soprano \key f \major r16 e f e f c d bes c a bes g }</score> || BuxWV 145 || <ref>{{RISM|455038260}}</ref>
|-
| 4 || 29-31 || [[Arnold Matthias Brunckhorst]] || Prael. con Fuga. v Prunth. || <score>\relative g'' { \clef soprano \key g \minor r16 g fis g d g fis g c, g' fis g }</score> || || <ref>{{RISM|455038261}}</ref>
|-
| 5 || 33-35 || [[Georg Böhm]] || Prael con Fuga. v. Böhm. || <score><< \relative a, { \clef bass r16 a c a e' c e c a' e a e } \\ a,2 >></score> || || <ref>{{RISM|455038262}}</ref>
|-
| 6 || 37-39 || [[Georg Böhm]] || dito. v. Böhm. || <score>\relative c, { \clef bass <c c' e g c e>4 r16 c e c g' g b g c }</score> || || <ref>{{RISM|455038263}}</ref>
|-
| 7 || 41-43 || [[Georg Böhm]] || dito. v: Böhm || <score><< \relative a, { \clef bass r16 a c a e' c e c a' e a e } \\ a,2 >></score> || || <ref>{{RISM|455038264}}</ref>
|-
| 8 || 45-51 || [[Johann Gottlieb Goldberg]] || Praeludi con Fuga. v. Goldberg. || <score><< \relative f'' { \key f \minor <f c aes>4 f, r <aes c f> } \\ \relative f { r8. f16 aes8. c16 \tuplet 3/2 4 { f8 c f aes c bes } } >></score> || || <ref>{{RISM|455038265}}</ref>
|}

=== Description ===
==== Brunckhorst ====
''See also:'' [[Arnold Matthias Brunckhorst#Prelude in G Minor]]

The Prelude and Fugue in G Minor was initially attributed to [[Nicolaus Bruhns]] by [[Martin Geck]] on style-critical grounds. This was followed by all editors of Bruhns organ music. However, in March 2006 it was initially speculated by the Tangermünde organist [[Dietrich Kollmannsperger]] that this piece had similarities with the Prelude and Fugue in E Minor by [[Arnold Matthias Brunckhorst]]. [[Klaus Beckmann]] agreed with these speculations in June 2006. It was shown that ''Prunth'' is a likely corruption of "Prunkh[orst]."<ref>{{NdS2 2009}} 547.</ref>

== Links ==
Online facsimile: [http://resolver.staatsbibliothek-berlin.de/SBB00027AC100000000 digital.staatsbibliothek-berlin.de], accessed 11 August, 2023.

== References ==
{{RISM|455038255}}

[[Category:Manuscripts]][[Category:German manuscripts]][[Category:Baroque]]

Arnold Matthias Brunckhorst

2024-01-11T16:35:58Z

WillsSchoolAccount:

[[File:Brunckhorst title.jpg|thumb|right|The heading to the Prelude and Fugue in E Minor by Brunckhorst]]
'''Arnold Matthias Brunckhorst''' (1670?-1725) was an organist and composer.

In 2006, the Prelude in G Minor previously thought to be composed by [[Nicolaus Bruhns]] was connected to Brunckhorst by [[Dietrich Kollmansperger]].

== Life ==
Brunckhorst worked in Hildesheim from 1693-1697. After this he went to the Stadtkirche in Celle. During this time he worked for Duke Georg Wilhelm of Brunswick-Lüneburg. In 1720, he became the Hanover court organist. He passed away in 1725.

Brunckhorst also worked as an organ tester.

<blockquote>Around 1700 he may have met the young [[Johann Sebastian Bach|J.S. Bach]] on one of his visits from Lüneburg to hear the duke’s famous French instrumentalists.<ref>Schröder</ref></blockquote>

== Prelude in G Minor ==
[[File:Prunth.jpg|thumb|right|The title-page to the Prelude and Fugue in G Minor by a certain "Mons Prunth"]]

When [[D-B Mus.ms. 30381]] was discovered, the Prelude in G Minor by "Mons. Prunth" was attributed to [[Nicolaus Bruhns]] by [[Martin Geck]]. While this attribution remained, it was not considered entirely satisfactory, and other possibilities were considered. This piece was also previously speculated to be composed by his brother [[Georg Bruhns]], although no works survive from him.<ref>Beckmann, Klaus (editor), ''Nicolaus Bruhns: Sämtliche Orgelwerke.'' Meister der Norddeutschen Orgelschule 13 [earlier edition, not including Brunckhorst]. Mainz: Schott, 2004.</ref>

In March 2006, [[Dietrich Kollmansperger]] published an article in [[Ars Organi]] in which he proposed that the piece was in fact composed by Brunckhorst. Unlike the three other preludes by Bruhns, this piece is only in two parts, a prelude and a fugue. Additionally, the Prelude in G Minor contained a ''rhythmic continuality''<ref>Kollmansperger: "eine rhythmische Kontinuität"</ref> that was not present in the other works but can be found in the '''Prelude in E Minor''' by Brunckhorst.

Kollmansperger showed stylistic similarities between the Preludes in E Minor and G Minor, such as the beginning of both pieces and the ending of the Prelude (first half) in which both pieces go into an adagio section before the fugue.

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative dis'' { \mark "E Minor" \key e \minor e16 g fis g e g e b dis e fis e dis e dis cis <dis b>2 \tempo "Adagio" r8 <dis fis>8 8 8 | e8 d d d d c c c }
\\
\relative fis' { g16 b a b g b g e fis g a g fis g fis e | fis2 r8 b8 b b | b8 r8 r8 gis a4 r8 a }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key e \minor R1 | b2 r8 dis8 8 8 | e8 r8 r8 8 <a e'>4 r8 <a fis'> }
\\
\relative b, { e4 r8 e b4 r8 fis | b2 r8 b a a gis r r e a4 r8 dis8 }
>>
>></score>

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative fis' { \mark "G Minor" \key g \minor fis16 a g fis g bes a g fis a g fis g bes a g | fis2 \tempo "Adagio" r8 a bes c d4~8 bes c4~8 a }
\\
\relative fis' { d4 r r r8 ees8 | d2 r2 | r8 f g4 r8 g fis4 }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key g \minor a16 c bes a bes d c bes a c bes a bes d c bes | a2 r2 | r8 bes bes4 r8 ees d4 }
\\
\relative b, { r4 r r r8 c | d2 r2 | r8 d ees4 r8 c d4 }
>>
>></score>

[[Klaus Beckmann]] responded to this article in [[Ars Organi]] in June 2006. He agreed with the findings by Kollmansperger, and furthermore pointed out that the use of the neopolitan 6th in both adagio sections is an unmistakable fingerprint of the same composer.

For even more evidence of the connection beyond stylistic grounds, Beckmann pointed out that ''Prunth:'' was a realistic mispelling of "Brunckhorst" (Brunckh -> Prunckh -> Prunkh -> Prunth), and that the surviving harpsichord sonata by Brunckhorst is signed ''di Mons. Brunckhorst''. It is possible that the sonata was signed ''Mons[ieur] Brunckhorst''.

In closing, Klaus Beckmann wrote that the case of Brunckhorst over Bruhns was ''a convincing, almost certainly correct solution'' based on ''rare clarity'', for which Kollmansperger was deserving of thanks and recognition. Afterwords, he re-issued the 7th volume of [[Meister der Norddeutschen Orgelschule]] containing the complete works of Bruhns (which had been previously published in 2004) as a two-composer volume including Arnold Matthias Brunckhorst, including both of his compositions.

== Works ==
{| class="wikitable"
|+ Organ works by Arnold Matthias Brunckhorst
|-
! Source !! Title !! Incipit !! Notes !! ref.
|-
!colspan="5"|Organ works
|-
| [[D-LEm Becker II.2.51]] part 5, p.16-19 || Praeludium / ex E. m. / A. m. Brunckhorst || Prelude <score>\relative e'' { e16 g fis e dis cis b a g a b a g }</score> Fugue <score>\relative e' { \time 4/2 r8 e g e b'4 c b g a b }</score> || || <ref>[http://digital.slub-dresden.de/id454398573/134 sachsen.digital], accessed 11 August, 2023. Mirrored: {{IMSLP|870142}}</ref><ref>{{RISM|225006522}}</ref>
|-
| [[D-B Mus.ms. 30381]] No 4 || Praludium con Fuga. ex G b. / pedaliter. / di / Mons: Prunth. || Prelude <score>\relative g'' { \key g \minor r16 g fis g d g fis g c, g' fis g bes, }</score> Fugue <score>\relative g' { \key g \minor r8 g bes c d d d d | bes8. a16 g8 }</score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00027AC100000000 digital.staatsbibliothek-berlin.de], accessed 11 August, 2023. Mirrored: {{IMSLP|870141}}</ref><ref>{{RISM|455038261}}</ref>
|-
!colspan="5"|Keyboard works
|-
|[[D-B Mus.ms. 30382]] f.86r-87v
|Sonata ex A #. / di / Mons: Brunckhorst.
|
|
|<ref>{{RISM|455038336}}</ref><ref>[http://resolver.staatsbibliothek-berlin.de/SBB0001A74900000000 digital.staatsbibliothek-berlin.de], accessed 16 August, 2023.</ref>
|}

== References ==
{{NdS2 2009}} 547.

[[Klaus Beckmann|Beckmann, Klaus]]. "Diskussion: Zur Neuzuweisund des Praeludiums g-Moll di Mons: Prunth. an Arnold Matthias Brunckhorst." [[Ars Organi]] 54. Jfg. Heft 2, June 2006. p.111-112.

[[Dietrich Kollmansperger|Kollmansperger, Dietrich]]. "'Mons: Prunth', Präludium g-Moll: Eine Neuzuweisung." [[Ars Organi]] 54. Jfg. Heft 1, March 2006. p.30-31.

[[Dorothea Schröder|Schröder, Dorothea]], ''Brunckhorst, Arnold [Andreas] Matthias [Melchior, Martin],'' 20 January, 2001. [https://doi-org.ezproxy.oberlin.edu/10.1093/gmo/9781561592630.article.04162 Grove Music Online], accessed 11 August, 2023.

[[Category:Baroque Composers|Brunckhorst]]
[[Category:Composers|Brunckhorst]]
[[Category:Baroque|Brunckhorst]]
[[Category:Norddeutsche Orgelschule|Brunckhorst]]

Georg Bruhns

2024-01-11T16:21:46Z

WillsSchoolAccount:

'''Georg Bruhns''' was [[Nicolaus Bruhns]]' brother and was his successor at the ''Stadtkirche'', Husum.

The ''Preludium in G Minor'' which appears in [[D-B Mus.ms. 30381]] was theorized to have been composed by Georg by [[Barbara Ann Raedeke]]. However, no other organ music by him survives.

== References ==
McLean, Hugh J., ''Bruhns, Nicolaus.'' Grove Music Online, 20 January 2001. [https://doi.org/10.1093/gmo/9781561592630.article.04146], accessed 3 September, 2023.

Beckmann, Klaus (editor). ''Nicolaus Bruhns: Sämtliche Orgelwerke.'' Meister der Norddeutschen Orgelschule 13. [earlier edition, not including Brunckhorst] Mainz: Schott, 2004.

[[Klaus Beckmann|Beckmann, Klaus]]. "Diskussion: Zur Neuzuweisund des Praeludiums g-Moll di Mons: Prunth. an Arnold Matthias Brunckhorst." [[Ars Organi]] 54. Jfg. Heft 2, June 2006. p.111-112.

[[Category:Composers|Bruhns, Georg]][[Category:German composers|Bruhns, Georg]][[Category:Baroque composers|Bruhns, Georg]][[Category:Baroque|Bruhns, Georg]]

M. W. C. B. M.

2024-01-08T21:24:46Z

WillsSchoolAccount: am.b 340 was not written by Karges.

[[File:Signature-M. W. C. B. M..png|thumb|The composer's initials]]
Two pieces in [[D-B Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.'''

== Attribution ==
It appears that either [[Max Seiffert]] (who inspected the [[Lynar Tablatures|Lynar B]] tablatures) or [[Hans Joachim Moser]] (who published the ''editio princeps'' of these works) was the first musicologist to suggest the connection to [[Wilhelm Karges]]. They speculated that the initials stood for ''Magister Wilhelm Carges Berolinensis Marchicus''. Karges would have been only 15 years old according to the year 1628 found in the manuscript. Moser stated that Karges was one of the scribes of this manuscript, which would explain the appearance of one of his pieces.

As pointed out by [[Klaus Beckmann]], the assertion that Karges was a scribe of '''Ms. Lynar B 3''' is shown to be false when comparing it to [[D-B Am.B 340]], which was written by an unknown scribe<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>.

Around 1958, an opposing view to that of Moser was developed by [[Margarete Riemann]], who stated that the works by M. W. C. B. M. appeared to be composed by a greater master than Karges at that age, and that the pieces marked ''W. K.'' in [[D-B Am.B 340]] are much more like a "small master"<ref>''Kleinmeister''</ref> from the middle of the century, based on Scheidt-like counterpoint and Froberger relaxation, without substance or supporting coloratura.

=== References ===
{{NdS2 2009}} 507-508.

== Works<ref>Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref><ref name="b">{{RO2001|Karges, Wilhelm}}</ref> ==
[[File:Mwcbm o mensch end.jpg|thumb|The end of ''O Mensch, bewein dein Sünde groß'']]

{| class="wikitable"
|+Works by M. W. C. B. M.
!Manuscript
!Title
!Incipit
!Notes
|-
|D-B Mus. Ms. Lynar B 3 No. 6
|Vater unser / in Himmell / reich. / MW.C.B.M.
|<score><< \relative a' { \clef alto a1 a4 g f e8 f g4 } \\ \relative a { a1 a2 d, e4 } \\ \relative e' { e1 e2 d4 c | b2*1/2 } \\ \relative cis' { cis1 cis2 a } >></score>
|3 verses. Third verse ends with "verte"
|-
|D-B Mus. Ms. Lynar B 3 No. 24
|O Mensch Be / weine deine / sünde gros auf. / 2 Clavier der Co / rahll gecollorirett / M. W. C. B. M.
|<score><<\relative f { \clef bass f4 f8 g a f a bes c4 r16 } \\ \relative f, { r2 f4 f8 g a f a8*1/2 } \\ \relative c { s1 c4 c8*1/2 } >></score>
|
|}

==References==
<references />

[[Category:Persons|M. W. C. B. M.]]
[[Category:Composers|M. W. C. B. M.]]
[[Category:Baroque Composers|M. W. C. B. M.]]
[[Category:Organists|M. W. C. B. M.]]
[[Category:Baroque|M. W. C. B. M.]]
[[Category:Norddeutsche Orgelschule|M. W. C. B. M.]]

Wilhelm Karges

2024-01-08T21:23:50Z

WillsSchoolAccount: am.b 340 was not written by Karges

'''Wilhelm Karges''' (1613?-1699) was a German organist and composer.

== Life ==
Karges was likely born around 1613-1614 (maybe in Berlin). In 1643 he was the assistant to [[Andreas Düben]] at the German church in Stockholm. In 1645, he was in Königsberg as a player for the ''Hochzeitsfeierlichkeiten''. In 1646 he became the cathedral organist in Berlin, where he remained for 50 years until his death on 27 November, 1699.

== Works ==
Works by Wilhelm Karges can be found in two manuscripts: three pieces marked ''W. K.'' in [[D-B Am.B 340]], which was written by an unknown scribe<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>, and a choral work and anonymous fugue in [[Lynar Tablatures|D-B Ms. Lynar B 1]].

{| class="wikitable"
|+ Organ works by Wilhelm Karges
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[D-B Am.B 340]] f.5v || D. Fantasia W. K. d. 13. July 1664. || || || <ref name="b">Beckmann, ''Die Norddeutsche Schule''</ref>
|-
| [[D-B Am.B 340]] f.9v || E. Praeludium W. K. quarti Toni. || || || <ref name="b"></ref>
|-
| [[D-B Am.B 340]] f.14v || Capricio G. h. W. K. || || || <ref name="b"></ref>
|-
| [[Lynar Tablatures|D-B Ms. Lynar B 1]] s.26a-b || Allein Gott a 3 Vocum Choral in Bass W. Karges || || || <ref name="b"></ref>
|-
| [[Lynar Tablatures|D-B Ms. Lynar B 1]] s.27a-b || Per fugas || || || <ref name="b"></ref>
|}

== See also ==
* [[M. W. C. B. M.]] - Two pieces in [[Lynar Tablatures|D-B Ms. Lynar B 3]] marked with these initials were attributed to Karges.

== References ==
{{NdS2 2009}} 502-510

[[Category:Organists|Karges, Wilhelm]][[Category:German organists|Karges, Wilhelm]][[Category:Baroque organists|Karges, Wilhelm]][[Category:Composers|Karges, Wilhelm]][[Category:Baroque composers|Karges, Wilhelm]][[Category:German composers|Karges, Wilhelm]][[Category:German|Karges, Wilhelm]][[Category:Baroque|Karges, Wilhelm]][[Category:North german organ school|Karges, Wilhelm]]

D-B Am.B 340

2024-01-08T21:23:12Z

WillsSchoolAccount:

D-Lr Mus.ant.pract. 1198

2024-01-05T21:08:37Z

WillsSchoolAccount:

'''D-Lr Mus.ant.pract. 1198''' is a manuscript housed in the ''Ratsbücherei'', Lüneburg. The scribe has been identified as [[Christian Flor]].

== Description ==
The manuscript is dated ''Ao. 1687 / 2. Martij.''. It contains 10 suites, 37 dance movements, and 13 chorale works.

== Contents ==
A facsimile of this manuscript is published in ''Lüneburg, Ratsbücherei, Mus. ant. pract. 1198: Introduction by Bruce Gustafson.'' New York: Garland Publishing, Inc., 1987. ([[17th Century Keyboard Music (Series)|17th Century Keyboard Music]] 22)

== References ==
{{RISM|450101751}}

{{NdS2 2009}} 430.

[[Category:Manuscripts]][[Category:German manuscripts]][[Category:Baroque manuscripts]]

Lynar Tablatures

2023-12-12T00:06:43Z

WillsSchoolAccount: /* Lynar B 3 */

D-B Mus.ms. 30439/2

2023-12-07T16:48:47Z

WillsSchoolAccount: Redirected page to D-B Mus.ms. 30439

#REDIRECT [[D-B Mus.ms. 30439]]

D-B Mus.ms. 30439/5

2023-12-07T16:48:22Z

WillsSchoolAccount: Redirected page to D-B Mus.ms. 30439

#REDIRECT [[D-B Mus.ms. 30439]]

D-B Mus.ms. 30439/4

2023-12-07T16:48:13Z

WillsSchoolAccount: Redirected page to D-B Mus.ms. 30439

#REDIRECT [[D-B Mus.ms. 30439]]

D-B Mus.ms. 30439/3

2023-12-07T16:48:03Z

WillsSchoolAccount: Redirected page to D-B Mus.ms. 30439

#REDIRECT [[D-B Mus.ms. 30439]]

Mylau Tabulature Book

2023-12-07T16:47:35Z

WillsSchoolAccount: Created page with "'''D-MY Handschrift "Mylauer Tabulaturbuch"''', also known as the '''Mylau Tabulature Book''', is a tabulature book held in the ''Evangelisch-lutherische Kirchengemeinde, Kirchenarchiv'', Mylau. It was likely written by Johann Christoph Traeger, a cantor in Mylau, around 1730. The title page reads ''TABULATUR / BUCH / IMSO [=1750?]''. == References == Beckmann, Klaus (editor). ''A. Kneller / G. D. Leyding: Sämtliche Orgelwerke''. Meister der..."

'''D-MY Handschrift "Mylauer Tabulaturbuch"''', also known as the '''Mylau Tabulature Book''', is a tabulature book held in the ''Evangelisch-lutherische Kirchengemeinde, Kirchenarchiv'', Mylau.

It was likely written by [[Johann Christoph Traeger]], a cantor in Mylau, around 1730.

The title page reads ''TABULATUR / BUCH / IMSO [=1750?]''.

== References ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''A. Kneller / G. D. Leyding: Sämtliche Orgelwerke''. [[Meister der Norddeutschen Orgelschule]] 31. Mainz: Schott, 2013. 70.

Andreas Kneller

2023-12-07T16:37:31Z

WillsSchoolAccount:

'''Andreas Kneller''' (1649-1724; also known as Kneller, Knöller, Knüller, Kniller) was a German organist and composer.

== Life ==
Kneller was born in 1649. From 1667 he was the organist at the Market church in Hannover, and from 1685 at St. Petri, Hamburg. He passed away in 1724.

== Works ==
Two works on ''Nun komm, der Heiden Heiland'' are found in the [[Johann Gottfried Walther|Walther]] manuscripts [[D-B Mus.ms. 22541/1]] and [[D-B Mus.ms. 22541/2|/2]] with composer "A. K." and "A. Kniller". These are also found in a 8-variation cycle in [[D-B Mus.ms. 30439/1]] also marked "A. Kniller". After style-critical analysis, this eight-variation set was connected with the composer '''Andreas Kneller'''. Besides this, a few other works survive.

{| class="wikitable"
|+ Surviving works by Andreas Kneller
|-
! Source !! Text !! Incipit !! Notes !! Ref.
|-
!colspan="5"|Chorale works
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] p.522-523 || [Te Deum Laudamus]
|
* Praeambu: / A. Kniller <score>\relative e'' { e16 b c a b fis g e a dis, e fis e8 fis16 g }</score>
* Herr Gott / dich Loben / wir. <score>\relative e { \clef bass e16 fis e fis e fis g a g8. fis16 g fis g a b }</score>
* Du König der / Ehren Jesu Christ. <score><< \relative e'' { \ottava #-1 r8 e e d c c c b a b c4 } \\ \relative a, { a2 a a } \\ \relative e' { b2\rest r8 e e d c d e fis } >></score>
* Täglich / Herr Gott <score><< \relative e' { \clef alto e4. fis8 g2 a } \\ \relative e' { r2 r8 e e, e'16 d c d c b a bes a g } >></score>
| || <ref name="b2013">Beckmann, 2013.</ref>
|-
|colspan="5"|'''Nun komm, der Heiden Heiland'''
|-
| [[D-B Mus.ms. 22541/1]] p.7-8 [[D-B Mus.ms. 22541/2]] p.25-26 || [/1:] Nun kom der Heÿden Heÿland. / Vers: i. / A. K. [/2:] Nun kom der Heÿden Heÿland. / A. Kniller. Vers: i. || <score><< \relative g' { \clef bass \key g \minor g2 g f4. g16 a bes2 } \\ \relative g, { r2 r8 g bes g d'4 r4 r8 g g g } \\ \relative f { f2\rest f4\rest <bes d> <a d> f\rest f\rest <bes d> }>></score> || || <ref name="b1987">Beckmann, 1987</ref><ref name="b2013">Beckmann, 2013.</ref>
|-
| [[D-B Mus.ms. 22541/1]] p.8-9 [[D-B Mus.ms. 22541/2]] p.26 || [/1:] Vers: 2. [/2: no title] || <score><< \relative d' { \clef alto r8 d4 c8 bes4 bes~ bes d g8 g4 fis8 } \\ \relative g { r2 r8 g4 f8 ees4 bes'~ bes a } >></score> || || <ref name="b1987">Beckmann, 1987</ref><ref name="b2013">Beckmann, 2013.</ref>
|-
| [[D-B Mus.ms. 30439/1]] || Nun kom / der Heyden / Heylandt / Auff 2 Clavier / A. Kniller || || || <ref name="b1987">Beckmann, 1987</ref><ref name="b2013">Beckmann, 2013.</ref>
|-
!colspan="5"|Preludes
|-
| [[Mylau Tabulature Book]] p.58-60 || Praeludium ex D. f. di: A: Knüller || <score>\relative d' { \key d \minor \time 2/2 d8 f a8. cis,16 d8. bes'16 a g f e }</score> || || <ref name="b1987">Beckmann, 1987</ref><ref name="b2013">Beckmann, 2013.</ref>
|-
| [[Mylau Tabulature Book]] p.97-99 || Praeludium ex F di A. Knüller || <score>\relative f { \clef bass \key f \major \time 2/2 r4 r16 a g a e f g g f8. e16 f8 }</score> || || <ref name="b1987">Beckmann, 1987</ref><ref name="b2013">Beckmann, 2013.</ref>
|-
| [[Mylau Tabulature Book]] p.151-152 || Praelud: ex. G h: Andr: Knüller. Orga: || <score>\relative g' { \key g \major \time 2/2 r8 a g8. fis16 g16 a b c d b e c }</score> || || <ref name="b1987">Beckmann, 1987</ref><ref name="b2013">Beckmann, 2013.</ref>
|-
| [[D-B Mus.ms. 30439/3]] f.6v-8r || Praeludium / A K || <score>\new Staff \with {\omit TimeSignature} \relative fis'' { e16 dis e a, g fis g a \hide Stem dis, }</score> || || <ref name="b1987">Beckmann, 1987</ref>
|-
| || [Praeludium in G Major] || <score>\new Staff \with {\omit TimeSignature} \relative fis' { r8 fis g8. a16 b16 fis g a }</score> || || <ref name="b1987">Beckmann, 1987</ref>
|-
| [[D-B Mus.ms. 30439/4]] f.5v || [Praeludium?] / ex A. / A. Kn. || <score>\new Staff \with {\omit TimeSignature} \relative fis { \clef bass a16 c b c d gis, a b a8. gis16 a e f d }</score> || || <ref name="b1987">Beckmann, 1987</ref>
|}

The Preludium in G Major was published by Beckmann in 1987 based on excerpts from [[D-B Mus.ms. 30439/4]] f.7v-8r, f.10r, f.11r, f.11v, and [[D-B Mus.ms. 30439/5]]. In 2013, he published a completion of this fragmentary prelude by [[Wolfgang Stockmeier]].

In 1907, the two variations in the Walther manuscripts were published by [[Karl Straube]] where he interpreted "A. Kniller", as ''Anton Kniller'', a name which can not be found anywhere in the history of North-German organ music.

== References ==
{{NdS2 2009}} 210.

[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Andreas Kneller: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1987.

[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''A. Kneller / G. D. Leyding: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 31. Mainz: Schott, 2013.

[[Category:Organists|Kneller, Andreas]][[Category:Baroque Organists|Kneller, Andreas]][[Category:German Organists|Kneller, Andreas]][[Category:Composers|Kneller, Andreas]][[Category:Baroque Composers|Kneller, Andreas]][[Category:German Composers|Kneller, Andreas]][[Category:German|Kneller, Andreas]][[Category:Baroque|Kneller, Andreas]]

Andreas Düben II

2023-12-01T19:50:25Z

WillsSchoolAccount: /* Works */ modify table for later additions

'''Andreas (II) Düben''' (1597-1662)

''NOTE: this article was automatically generated from an entry submitted to '''wvlist.net'''. You can help add pictures and more information to this article!''

{{Stub}}

== Works ==
{| class="wikitable"
|+ Surviving works by Andreas Düben II
! Source !! Title !! Incipit !! Notes !! Ref.
|-
|
|Praeludium ex E vel A
|
|
|
|-
|
|Allein Gott in der Höh sei Ehr
|
|
|
|-
|
|Allein Gott in der Höh sei Ehr
|
|
|
|-
|
|Wo Gott der Herr nicht beÿ unß Held
|
|
|
|}

== References ==
''See notes''

[[Category:Persons|Düben, Andreas]]
[[Category:Composers|Düben, Andreas]]
[[Category:Baroque Composers|Düben, Andreas]]
[[Category:Organists|Düben, Andreas]]
[[Category:Baroque|Düben, Andreas]]
[[Category:Norddeutsche Orgelschule|Düben, Andreas]]
[[Category:WVlist pages|Düben, Andreas]]

D-Mbs Mus.ms. 1581

2023-11-27T15:45:35Z

WillsSchoolAccount: Created page with "'''D-Mbs Mus.ms. 1581''' is a manuscript held in the ''Bayerische Staatsbibliothek'', München. == Description == The manuscript has been written by an unknown scribe in New German Tablature Notation (however, it comes from south Germany). It is dated to 1620. The tablature has been held at the ''Bayerische Staatsbibliothek'' since 1831. == Contents == The manuscript contains almost all southern-German works such as Canzonas, Fugas, Ricercars, Toccatas, etc. by co..."

'''D-Mbs Mus.ms. 1581''' is a manuscript held in the ''Bayerische Staatsbibliothek'', München.

== Description ==
The manuscript has been written by an unknown scribe in [[New German Tablature Notation]] (however, it comes from south Germany). It is dated to 1620.

The tablature has been held at the ''Bayerische Staatsbibliothek'' since 1831.

== Contents ==
The manuscript contains almost all southern-German works such as Canzonas, Fugas, Ricercars, Toccatas, etc. by composers such as [[Adriano Banchieri]], [[Christian Erbach]], [[Girolamo Frescobaldi]], [[Hans Leo Hassler]], and others, including some anonymous pieces. However, it also contains a north-German piece, a fantasia by [[Johann Steffens]].

== Links ==
{{OnlFac|sig=D-Mbs Mus.ms. 1581|url=https://www.digitale-sammlungen.de/view/bsb00104627?page=1|urlc=www.digitale-sammlungen.de|date=27 November, 2023}}

== References ==
{{NdS1 2005}}

{{RISM|1001002223}}
[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Baroque Manuscripts]][[Category:German]][[Category:Baroque]]

Gdańsk Tablature

2023-11-27T15:29:45Z

WillsSchoolAccount: Created page with "The '''Gdańsk Tablature''' (de: ''Danziger Tabulatur'') is an organ tablature. It was probably written around 1591. == Description == The tablature contains the date 1591 (likely the time the manuscript was compiled) and the initials P W S P. == Contents == This tablature contains 17 fantasias in 9 church tones, 22 Intabulations, and one chorale setting. == References == {{NdS1 2005}} 119. Category:ManuscriptsCategory:Baroque ManuscriptsCa..."

The '''Gdańsk Tablature''' (de: ''Danziger Tabulatur'') is an organ tablature. It was probably written around 1591.

== Description ==
The tablature contains the date 1591 (likely the time the manuscript was compiled) and the initials P W S P.

== Contents ==
This tablature contains 17 fantasias in 9 church tones, 22 [[Intabulation|Intabulations]], and one chorale setting.

== References ==
{{NdS1 2005}} 119.

[[Category:Manuscripts]][[Category:Baroque Manuscripts]][[Category:Polish Manuscripts]][[Category:German Manuscripts]][[Category:Polish]][[Category:German]][[Category:Baroque]]